The Creator between Individual Coloratura and the Stage Architecture
The Creator between Individual Coloratura and the Stage Architecture

Summary/Abstract: The staging of a classic is also an encounter of the present with fictitious characters and conducts, which have already been invented. Stage management includes the personal interpretation suggested by the text, whereas the coordination of the components of the show is dictated by the director’s own aesthetics, who progressively becomes an artist with a particular style of expression. The director’s task is to continuously reshape the play, in agreement with social dynamics, and thus he turns into an inventor of original stage laws. The creators’ endeavors to keep the great dramatic past and the great plays alive have intermingled with the incessant search for new reinterpretations and new meanings in Chekhov’s work. Stage practice has supported the assumption according to which only a bad play may be staged in a single manner, whereas a good play is able to give rise to endless interpretations. This is also the case with A. P. Chekhov’s Cherry Orchard. One of the memorable interpretations of this play dates back to February 6, 1985, when the director György Harag came to the National Theater of Târgu Mureş to lay the foundations of his last directing job (he did not know that at the time!). In July 1985, while visiting Romania for a few days, Lucian Pintilie sees Harag’s enactment, which he finds “absolutely fabulous”. A few years later, more precisely in 1988, in his staging of the Cherry Orchard at Arena Stage in Washington, Pintilie gives (yet again!) the full measure of his unmistakable personal style, his own manner of staging classical plays in a mysteriously modern way.

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