Onkel Wanja
What happens to our fading ideals and shattered illusions when confronted by an increasingly incomprehensible world? It is a sticky, hot summer in the country. Sonya and her Uncle Vanya have spent years of blood, sweat and tears managing the farm for Sonya’s father, the big city Art Professor Serebryakov. When the Professor retires to the countryside with his new wife Elena, the business suddenly grinds to a halt. Vanya has sacrificed all his strength to finance the Professor’s academic career. When seen close up, however, he turns out to be a bitter disappointment, as he wrangles lethargically with his own insignificance. And what about the equally hard-working Sonya? She is in love with Astrov, the local doctor, who now makes regular visits. But Astrov is finished with love and now prefers vodka. He can no longer bear the world’s suffering and is fighting a final, illusory battle against deforestation. What can they do now? Nobody knows any more. In his profound comedy from 1896, Anton Chekhov takes a merciless look at a society in decline, that has lost all its bearings. Conflicts over material existence meet midlife crises and dashed dreams. The Israeli director and actor Itay Tiran directs his debut production in Germany with UNCLE VANYA. He has recently directed productions at the Burgtheater in Vienna and the Gesher Theatre in Tel Aviv.
- Regie Itay Tiran
- Bühne Michael Sieberock-Serafimowitsch
- Kostüm Michael Sieberock-Serafimowitsch
- Musik Dori Parnes
- Lightdesign Michael Frank
- Ton Holger Brochhaus
- Dramaturgie Lennart Göbel
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Grausam, witzig, erschütternd.
Ein Schauspielerfest.
Setting und Ensemble entwerfen nahbare Figuren.
Das emotionale Spiel der sechs Darstellenden sorgt immer wieder für lichte Momente in Tschechows melancholischem Stoff.
Das Schönste ist, wie der Regisseur all der Lebensschwere eine absurde Komik, ein subtiles Lachen einbaut.
Das Tschechow-Stück berührt wie eh und je.
Das Symbolische und das Konkrete gehen Verbindung ein in Itay Tirans nahbarer, aufgeraut konzentrierter Inszenierung.
Regisseur Itay Tiran gelingt das Kunststück, den 126 Jahre alten Text urkomisch und tragisch zugleich zu zeigen. Dabei überfrachtet er es nicht mit aktuellen Bezügen und lässt es trotzdem total aktuell wirken.
Die Illusionsmaschine, die bei Tschechow ihre Arbeit verrichtet und außer Betrieb gerät, bringt Itay Tiran feinfühlig in Gang.
Ein beklemmendes intensives Kammerspiel.