Uncle Vanya and the 12 bouquets

The staging Uncle Vanya and the 12 bouquets follows the plot structure of Chekhov's play, but takes away the thick weaving of the social context of the time of its origin. This sets the play into contemporary times. The motives as propositions for the staging of the given human states and relations are connected by the text, the story, but in a discontinuity which sets asunder the time delays, introduces simultaneity of the layers of awareness and sentiment. The concentration and dynamics are focused on the stage image - a vignette whose rhythm is dictated by the inner flow of lines of force interwoven in the demonstrated relation.
The staging primarily takes into account the innovation in the dramatics of Chekhov, which is negative dramaturgy. Chekhov announces it - yet undiscovered - in his earlier plays and manifests it in the replacement of classic dramaturgical forms with textual and discursive mechanisms. This is a historical and at the same time contemporary approach, for it is possible to apply it to the modern-day staging practices as well, enabling reduction (of characters, sceneries, words, secondary motives), with special attention placed on the selection and the right measure. In such a procedure, the fundamental principles and problems of Chekhov's dramatics and dramaturgy remain intact.
The excerpt from the text Uncle Vanya and the 12 bouquets by Petra Tanko