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Anna was 02 march on The Gull

Bright, effective, stylish and laconic in the scenery performance. There are no new forms in it - this is practically a literal remake of the Lithuanian version of "The Seagull" of this director from 2013. Interaction with the audience before the start, the almost constant presence of actors on the stage, flirting with the audience in the course of the action, announcing the intermission Kostya - everything was and still is in the Lithuanian “The Seagull”. Frost (Arkadina), on which the performance essentially rests, plays its roles in an actorly way; Ustinova (Masha) and Vorozhtsov (Medvedenko). Lyubshin and Dobrovolskaya are beautiful, but they definitely have nothing to play there. Volunteer one more time at the same time they use in a standard role the disheveled, absurd, comical, tearful intonations of a fool with an unhappy fate. Lyubshin brings charm and old-fashionedness, but in general its role is insignificant. Duzhnikov-Dorn and Sytom-Shamraev also have nothing to play. Wernick and Andreeva are absolutely none. Andreeva is as mediocre as Nina, and Wernick, like Trigorin, is false to the core. Their joint scenes are as dull and uninteresting as possible; in these Nina and Trigorin, no outbreak of sympathy is found. Treplev performed by Kotrelev hysterically-malignant undergrowth, rather conditionally shown. For some reason, the actors start yelling foolishly, although there are no prerequisites for this. But the performance itself is still quite empty. "Empty ... scary ..." The screens in the Moscow Art Theater are not new, microphones, too, direct shooting along the way, too. I did not discover anything new for myself in the play, it was more like a passing performance, but it was not boring to watch. My balcony was rapidly empty, in the stalls after the intermission there were empty seats even in the front row. It’s definitely worth a look to decide for yourself. My rating is 6/10

Ludmila was 02 march on The Gull

Were at the premiere 02/28/2020. Unusual, not the right word! You expect half of the first action when the "real" performance begins, the actors change clothes and stop bearing the gag. Then you plunge and you realize that this is how it should be, and that is how it should be! Costumes and devices of the 21st century simply do not notice! The cast is beautiful. Replacements are not yet indicated even in the program. My favorite is Evgenia Dobrovolskaya. The role is not the main, BUT! Imagine that there are all 10 actors on the stage, someone pronounces an iconic monologue, dialogue, it doesn’t matter ..., all this is accompanied by screams and throwings on the stage, which in this production is harmonious and justified, while my eyes are focused only on her Eugenia, who is silent and brilliantly present! Paulina and Nina are similar, both are so-so actresses ... The ingenious Chekhov and the director did not fail here either, at the final monologue of Zarechnaya, I wept. It was a pity to Nina, Paulina’s husband was at least rich and famous, though old. They sat in the stalls, after the intermission, they counted ten empty chairs next to them. They didn’t look back, but there were a lot of spectators who left the action ... Is it strange for me to survive the first action and not stay on the second? !!!! There already Kostya in sneakers does not bother a drop! My performance rating is 10 out of 10.

Ekaterina was 30 december on The Gull

Very good setting, a simple story through an interesting prism. There is something to think about. I advise

Чайка

Чайка12+

Purchased earlier: 273
Location:
125009, Москва, Камергерский пер., 3
Duration:
03 h 00 min
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Story

For the Moscow Art Theater, Chekhov's “The Seagull” is a special play, a symbol of the renewal that the Moscow Art Theater brought to the world stage. After the triumphant staging of K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko, 1898, the image of the seagull became the emblem of the Moscow Art Theater. In the year of the 160th anniversary of A.P. Chekhov's "The Seagull" returns to the stage of the Art Theater.
Oskaras Korshunovas - one of the most famous and influential contemporary European directors - sets the classics, extracting from it the actual meanings, and modern texts, revealing in them not at all momentary content. He believes that the theater should not only reflect the present, but also overtake time. There is no historical fleur in his Seagull. This is a tragicomedy about generations, this is a theater without pretense, in which a laconic design, referring to Scandinavian architecture and cold northern nature, is combined with sharpened, explosive manifestations of the feelings of heroes. The director introduces a new formula, "The Seagulls," and it turns out to be both the formula of our time.
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Review

Loneliness. So hard when they don’t understand you. Especially the closest. Like they don’t see and hear you. Only the heart is vigilant.

Konstantin Treplev wrote the first play. Put in her whole soul. But his mother, Irina Nikolaevna, a famous actress, and her friends do not accept the play. Generation Conflict?

Kostya and her mother arrived at her brother's estate. Here in the garden the first performance of his play took place. He invited Nina Zarechnaya to the main role. He is in love with her.

Parents do not approve of their daughter's hobbies with theater. A girl from a noble family needs to think about marriage, and not read plays with novels. But Nina lives in a theater.

Nina told Treplev that there were no living faces in his play. And he was mortally offended. So she told the truth ...

Nina read the play out loud, and everyone was talking. Bored reading, betrayed him! Okay, the playwright didn't come out of it. But Nina fell in love with another.

And found in whom ... In Trigorin, his mother’s lover. He is much older than her. How to survive it ...

Masha, the daughter of the estate manager, is in love with Kostya, but he is indifferent to her.

Treplev showed Nina the dead seagull and compared it to himself. Nina replied that she had ceased to understand him - he speaks with symbols.

Should I blame the young and impatient? They are so vulnerable ... And trouble came.

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FeedBacks

Anna was 02 march

Bright, effective, stylish and laconic in the scenery performance. There are no new forms in it - this is practically a literal remake of the Lithuanian version of "The Seagull" of this director from 2013. Interaction with the audience before the start, the almost constant presence of actors on the stage, flirting with the audience in the course of the action, announcing the intermission Kostya - everything was and still is in the Lithuanian “The Seagull”. Frost (Arkadina), on which the performance essentially rests, plays its roles in an actorly way; Ustinova (Masha) and Vorozhtsov (Medvedenko). Lyubshin and Dobrovolskaya are beautiful, but they definitely have nothing to play there. Volunteer one more time at the same time they use in a standard role the disheveled, absurd, comical, tearful intonations of a fool with an unhappy fate. Lyubshin brings charm and old-fashionedness, but in general its role is insignificant. Duzhnikov-Dorn and Sytom-Shamraev also have nothing to play. Wernick and Andreeva are absolutely none. Andreeva is as mediocre as Nina, and Wernick, like Trigorin, is false to the core. Their joint scenes are as dull and uninteresting as possible; in these Nina and Trigorin, no outbreak of sympathy is found. Treplev performed by Kotrelev hysterically-malignant undergrowth, rather conditionally shown. For some reason, the actors start yelling foolishly, although there are no prerequisites for this. But the performance itself is still quite empty. "Empty ... scary ..." The screens in the Moscow Art Theater are not new, microphones, too, direct shooting along the way, too. I did not discover anything new for myself in the play, it was more like a passing performance, but it was not boring to watch. My balcony was rapidly empty, in the stalls after the intermission there were empty seats even in the front row. It’s definitely worth a look to decide for yourself. My rating is 6/10

Ludmila was 02 march

Were at the premiere 02/28/2020. Unusual, not the right word! You expect half of the first action when the "real" performance begins, the actors change clothes and stop bearing the gag. Then you plunge and you realize that this is how it should be, and that is how it should be! Costumes and devices of the 21st century simply do not notice! The cast is beautiful. Replacements are not yet indicated even in the program. My favorite is Evgenia Dobrovolskaya. The role is not the main, BUT! Imagine that there are all 10 actors on the stage, someone pronounces an iconic monologue, dialogue, it doesn’t matter ..., all this is accompanied by screams and throwings on the stage, which in this production is harmonious and justified, while my eyes are focused only on her Eugenia, who is silent and brilliantly present! Paulina and Nina are similar, both are so-so actresses ... The ingenious Chekhov and the director did not fail here either, at the final monologue of Zarechnaya, I wept. It was a pity to Nina, Paulina’s husband was at least rich and famous, though old. They sat in the stalls, after the intermission, they counted ten empty chairs next to them. They didn’t look back, but there were a lot of spectators who left the action ... Is it strange for me to survive the first action and not stay on the second? !!!! There already Kostya in sneakers does not bother a drop! My performance rating is 10 out of 10.

Ekaterina was 30 december

Very good setting, a simple story through an interesting prism. There is something to think about. I advise

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