SONGS ARE PLAYED IN THE PERFORMANCE:
Love Me Love Me (Grechka)
Troubadour's Serenade (G. Gladkov, Y. Entin).
Women's Things (Kolibri)
Ferryman (I. Nikolaev, N. Zinoviev)
You Are in the World (M. Minkov, L. Derbenev)
The Woman Who Sings (L. Garin, N. Grebnev, K. Kuliev, A. Pugacheva)
Eaglet (V. Belyi, Y. Shvedov)
Cambio dolor (F. Lopez Rossi, P. Duran)
He kisses you (S. Zhukov and A. Potekhin)
Siberian Frosts (V. Kuzmin)
Green-Eyed Taxi (O. Kvasha, V. Panfilov)
Crying on Techno (Cream Soda&KHLEB)
Multicolored Fairs (Y. Lyaskovsky, B. Purgalin)
Let There Always Be Sunshine (A. Ostrovsky, L. Oshanin)
Summer Rain (I. Talkov)
Salut (S. Kutunyo, V. Pallavicini, P. Delanoe)
Blue Eternity (M. Magomayev, G. Kozlovsky)
Aria Cavaradossi E lucevan le stelle from the opera Tosca by G. Puccini.
Doubt (M. Glinka, N. Kukolnik)
Black dog (J. Page, R. Plant, J.P. Jones)
I will always love you (D. Parton)
Lament of the Nymph (part II Amor, dicea, il ciel, C. Monteverdi)
This is Pavlova's first work at the Alexandrinsky Theatre with the company's artists; her previous experience - the play The Cherry Orchard - was created in the competition project 7 Tier for non-state theaters of St. Petersburg that do not have their own stages, with the team of the Independent Theater Project.
Chekhov's The Seagull is the most important dramaturgical text for the Alexandrinsky Theater. It was at the Alexandrinsky stage that the play premiered in 1896 (directed by Yevtikhiy Karpov) and has been revisited several times since, from Mikhail Darsky's production (1902) to Christian Lupa's most recent production (2007). The failure of the premiere of The Seagull was reflected by the theater at the level of scientific research - in the books "Alexandrinsky The Seagull and "A. P. Chekhov and the Alexandrinsky Theater at the Turn of the XIX and XX Centuries" by the theater historian and theater historian Alexander Chepurov. And in 2021 at the festival of young St. Petersburg directors in the program Another Stage and in the form of a performance - Chekhov Leaves the Theater, the genre of which director Vladislav Tutak defined as "an elevator ride in the footsteps of one high-profile failure".
Elena Pavlova does not reflect on the stage history of The Seagull; for her, Chekhov's text is not a professional drama about theater and literature, nor is it a costume production tied to a specific era. Pavlova, as in the case of The Cherry Orchard, "reads" Chekhov in the language of soundtrack, and the musical canvas of the play includes compositions specially created for the play by Oleg Gudachev and hits of Soviet and Russian pop music, through which the characters identify themselves and which are firmly planted in the mass consciousness and in a sense are part of the cultural code, resonating in the memory with lines, musical phrases and life events.
The time of action here is the conventional now or always, beyond everyday signs and details. At the same time, Chekhov's text will be presented in the play almost in its entirety, with only minor cuts.
Elena Pavlova is a stage director of musical and dramatic performances, founder of the Independent Theater Project, two-time nominee of the Golden Mask National Theater Award, winner of the special prize of the St. Petersburg Theater Award for Young People "Breakthrough".
Dear audience, please note that the scenic design of the performance uses a large amount of organic materials (dried flowers, hay, sorghum, stabilized limonium), which may cause an allergic reaction.
The premiere is on June 12, 2023
Media about the performance
The Seagull by Elena Pavlova turned out to be whole, filled with meanings, interesting roll calls. The soundrama format helped to reveal the sensual world of Chekhov's characters, to move away from the era of the play, from the theme of theater art to the themes of human nature, creativity, love in all its manifestations, freedom of spirit.
Natalia Yakovleva. The Seagull. Every bird has its own song
OKOLO, 19.06.2023
The performance turned out to be conceptual: a deconstructed play; the author taken out of the brackets (or rather, broadcast on the back of the stage in the form of the text of the play); the motifs of the characters presented to the audience on a platter, mixed with well-known pop hits like "Green-Eyed Taxi" and even "Crying on Techno". (...) Anton Pavlovich's text is parsed into motifs and questioned. The production is not concerned with interpreting a work that is dominated by the myth of its author, but with creating a new language. At the core, of course, is Chekhov, but also you and I, as well as the actors. The main artistic technique is the replacement of dialogues (with rare exceptions) with songs that characterize the key states of the characters and convey the meta-communications of the characters.
Elena Sviridova. Chekhov in meta-space: how "The Seagull" was reimagined and why to watch it
RBC, 19.06.2023
