Look, I Bloody Like Chekhov, Too

It appears that my previous post suggested that I do not like Chekhov. 

I'm just saying that I have had enough Chekhov for a bit - and I cheekily bought Dominic Hill into it because he has a habit of jazzing up classic texts.

However, I like Chekhov so much that I did my own version of Uncle Vanya. Over four acts, my version explored questions of comedy (comparing Vanya to Jim 'Nicked Nicked' Davidson), the spiritual subtext of the finale (suffering as a redemptive process) and the history of Electronic Dance Music in the UK (1988 - 1994).


Chekhov's study of the family in crisis might be located in a Russia that was awaiting a revolution - there are plenty of ironic moments when the characters sigh over a coming new age, or bang on about the dignity of work - but it also has that universalism that great tragedy is supposed to have...

As far as I think universalism is possible, I guess. 

And John Byrne's translations are pretty spiffy, too. 

Post-Visual Theatre

The term post-visual theatre was the final step in a process that began with frustration at post-dramatic theatre and the proliferation of jargon in the discussion of it. Its first articulation was as ‘audio criticism’ – a series of podcasts made by Tramway Young Critics that accompanied their spoken reviews of performances with music that evoked the mood they experienced during the performance. Since this format allows dialogue between the critics, it offers a pluralist critique, against the more traditional review that privileges a single voice. It also attempts to offer an experience to the listener more akin to the experience of art.

The first stages of Uncle Vanya in Dub were an immediate response to Rapture Theatre’s production of John Byrne’s translation – it dramatised the questions posed in the company’s process. Act II dwells on whether it is comedy or tragedy; Act I struggles to find the subtext to the script.

Post-visual theatre is fundamentally critical in intention. It comments on the already existing text, and uses a bricolage technique of ready-mades… it differs from electro-acoustic composition in that it is exclusively made up from already existing texts (music, sounds and words). It shares a great deal with soundscape or installation sound art, but has a clearer connection to post-dramatic theatre’s interest in deconstruction.

Well... that is the version of DJ SpinOza... and defines post-visual theatre is a specific lineage. However, there are other works that fit into the post-visual category - based on the assumption that the strongest presence on stage is the audio. Take Ciara by David Harrower: its visual aspect is limited to Blythe Duff's presence and some subtle lighting, allowing the sound of the words, accompanied by music from Daniel Padden, to lead the meaning. Then there is Away with The Birds by Hanna Tuulikki, which becomes less interesting the more that it moves away from being a vocal piece (a version at Tramway introduced some dance moves, which felt tentative and clumsy against its majestic version at Techtonics 2013). 

Of course, the most notable use of a post-visual strategy came in Martin O'Connor's Theology (part 2). Although it did not mesh effectively with (part 1), in itself it used O'Connor's poetry as part of Nichola Scrutton's roving soundscape, conjuring A Govan of the Mind through the words and sounds... neither O'Connor's poetry nor Scutton's music would have had the same impact alone (although they are very good in themselves, anyway....)

Uncle Vanya for Easter Sunday...

SONIA. What can we do? We must live our lives. [A pause] 

Yes, we shall live, Uncle Vanya. We shall live through the long procession of days before us, and through the long evenings; we shall patiently bear the trials that fate imposes on us; we shall work for others without rest, both now and when we are old; and when our last hour comes we shall meet it humbly, and there, beyond the grave, we shall say that we have suffered and wept, that our life was bitter, and God will have pity on us. Ah, then dear, dear Uncle, we shall see that bright and beautiful life; we shall rejoice and look back upon our sorrow here; a tender smile—and—we shall rest. I have faith, Uncle, fervent, passionate faith. 

[SONIA kneels down before her uncle and lays her head on his hands. She speaks in a weary voice] We shall rest.

[TELEGIN plays softly on the guitar] 

We shall rest. We shall hear the angels. We shall see heaven shining like a jewel. We shall see all evil and all our pain sink away in the great compassion that shall enfold the world. Our life will be as peaceful and tender and sweet as a caress. I have faith; I have faith. 

[She wipes away her tears] 

My poor, poor Uncle Vanya, you are crying! 

[Weeping] You have never known what happiness was, but wait, Uncle Vanya, wait! We shall rest.

[She embraces him] 

We shall rest. 

[The WATCHMAN'S rattle is heard in the garden; TELEGIN plays softly; MME. VOITSKAYA writes something on the margin of her pamphlet; MARINA knits her stocking]

We shall rest.