István L. Sándor: Let’s play!
Who wants to put on stage Chekhov’s first (which appeared after his death) play, the Platonov, those had to start the work with the formation of the text version, as it is very rampant, and the original version of the play with its 200 printed pages is hard to perform. Maladype Theatre has come up with a characteristic version of the text, to which Zoltán Balázs’s staging has connected a defined theatrical form.
The version of Maladype (dramaturg: Judit Góczán) has formed Platonov into a chamber version in reality. In the original text there are twenty characters by names (and many characters without names) from it, with different connections and groupings of roles the creators of the performance of Maladype, can open nine figures’ story. (With it they follow Chekov’s creating method, for example Chekov himself formed the rampant action of The Elf and its tabloid like cast into a complicated structure of relations of the six main characters – and of three side characters.
The performance of Maladype puts into brackets the determining problem of the generation of the original text by Chekov. Above it, they make a performance of generation from it. This Platonov is mostly about youngsters, and about the world of those, who are not thirty. (The main character, for example, is said to be 25, while Chekov’s here is “over” 27.) In Chekov’s text the generation of fathers is there too, however in the performance of Maladype there is only one character, who is over thirty. He is Vengerovich (Zsolt Páll), who melts into himself more older Chekov figures (mostly Glagoljev). Only in casa of his son, the younger Vengerovich (Zénó Faragó) I can feel some kind of confusion in case of the text version of Maladype, who is made from three figures, from younger Vengerovich, the younger Glagoljev and Osip, who has stolen horses. As the different figures’ different motivations have not been formed into a motivation, which comes from one another. (For example, the younger Glagoljev confesses his love to Anna Petrovna to annoy his father. However, Osip runs after the woman with unappealable and irreplaceable enthusiasm. He threatens Platonov deadly because of jealousy. The younger Vengerovich simply looks him down on, because according to him in the fact that Platonov always provokes his father, only the failure of his own life can be seen well.)
In this young “drama”, which is rules mostly by characters under the age of 30, obviously love will be the main character, the confusion of feelings, the chaos of desires and choices, which can fill love with restlessness and unpredictability.
István L. Sándor, Ellenfény, 2010
(translated by: Veronika Fülöp)
The version of Maladype (dramaturg: Judit Góczán) has formed Platonov into a chamber version in reality. In the original text there are twenty characters by names (and many characters without names) from it, with different connections and groupings of roles the creators of the performance of Maladype, can open nine figures’ story. (With it they follow Chekov’s creating method, for example Chekov himself formed the rampant action of The Elf and its tabloid like cast into a complicated structure of relations of the six main characters – and of three side characters.
The performance of Maladype puts into brackets the determining problem of the generation of the original text by Chekov. Above it, they make a performance of generation from it. This Platonov is mostly about youngsters, and about the world of those, who are not thirty. (The main character, for example, is said to be 25, while Chekov’s here is “over” 27.) In Chekov’s text the generation of fathers is there too, however in the performance of Maladype there is only one character, who is over thirty. He is Vengerovich (Zsolt Páll), who melts into himself more older Chekov figures (mostly Glagoljev). Only in casa of his son, the younger Vengerovich (Zénó Faragó) I can feel some kind of confusion in case of the text version of Maladype, who is made from three figures, from younger Vengerovich, the younger Glagoljev and Osip, who has stolen horses. As the different figures’ different motivations have not been formed into a motivation, which comes from one another. (For example, the younger Glagoljev confesses his love to Anna Petrovna to annoy his father. However, Osip runs after the woman with unappealable and irreplaceable enthusiasm. He threatens Platonov deadly because of jealousy. The younger Vengerovich simply looks him down on, because according to him in the fact that Platonov always provokes his father, only the failure of his own life can be seen well.)
In this young “drama”, which is rules mostly by characters under the age of 30, obviously love will be the main character, the confusion of feelings, the chaos of desires and choices, which can fill love with restlessness and unpredictability.
István L. Sándor, Ellenfény, 2010
(translated by: Veronika Fülöp)