“The Garden of Trees”, the story of Chéj’s demise in an ambitious production

Now he can perform at the Fernán Gómez Theater, directed by Juan Carlos Pérez de la Fuente and the version by Ignacio García Maya, in an ambitious production that has never been absent from the list or the medium: the company of actors returns to three under the leadership of the captain the wonderful Carmen Conesathose joined by a chorus of beggars; plastic work can be seen in the set colorist and the first costume.

As with all Chey productions, it’s a matter of confirming with the tone of the song, in which apparently no big things are happening, it can function as a taint of wistful, melancholic, vacillating characterswith hope and joy too, who spend time living together, chatting, sharing walks in the fields…

As the author believed when he wrote it, he declared that he had it in his hands a Ryan comedy in a farceinspired by a visit I made to Stanislavsky’s mother’s farm belonging to the landowner’s family. It was normal for Stanislavski to walk around with different eyes and think it was a tragedy.

Pérez de la Fuente, as you are seen in it, He rejects naturalism and chooses symbolism to build this little Russian Arcadia that is below. Scenes with so many characters, where you mix together the elderly, children, servants and visitors, are played with good actions, with the understanding that the fragmented dialogues have credibility, deciphering the subtext that shows the human complexity in characters, feelings and behavior.

It is a pleasure to participate in a production with such a large list creates a more or less homogeneous line of interpretation. It is impossible to keep me in everyone, but I appeal to Conesa for her distinguished, whimsical and elegant Liuba Andreyevna Ranevskaya; Markos Marín, who is wonderful in the role of his pusilánime hermana Gaeva; Nuria Marló, a convincing criada enamoradiza; Chema León in enthusiastic Lopahin, while Marta Poveda lidia with dramatic Varya. There are also extravagant and extravagant characters that are even more captivating than Carlota, who plays Cristina Marcos, a kind of surrealist institution.

Fernán Gómez’s detailed panoramic scenery is explored throughoutwith scenography with curious informative details signed by the director and Isi Ponce. The feature begins by projecting a black-and-white video scene on a television that presents an image of the mountains and forests of the vast Russian continent.

In the first act, install gas curtains to recreate the interior of the house, a phantasmagorical atmosphere of sweet memories of lost childhood and happiness. The second passage in the field day, marked by a large and good mural, which shows us the electric tendon of the fireplace. The same space turns into a third act of daring at a party where Liuba Andreyevna Ranevskaia (Carmen Conesa) and her husband Gaev (Marcos Marín) receive the news that they have lost their property.

We will help you at the last meeting of your family home with your equipment. We introduce the stage where Varya will now come, because Lopahin, who bought the property, no steps towards marriage as he hopes and that will solve the future. In the subtext, it is clear that Lopahin wants to realize himself in Liuba.

The end of sin hachazos

The work’s famous final brooch changes. In the original text, Firs, who in his life was the servant of the whole family and who behaved as a symbol of ancient Russia, who was locked and forgotten in the house as soon as everyone was gone, while the coincidences that indicate that the beautiful hearts of the heart are destroyed for the sake of this country will be used to build houses for porches.

I suppose the work version replaced the fairy tale with fire, I suppose because we are now better known. We see Miguel’s diagram on the first paper, symbolically looking for a transparent canvas – the door of the house – to offer us his final words in an expert declamatory tone that breaks again in simplicity with the dramatic power of the original work, Ruido seco de los hachazos simply looks at him.

I also like Rosa García Andújar, the costume designer who wanted to shine with the talent of the actors, clear inspiration in the folklore used. One of the best things is when you see the Dunyasha family, but the wardrobe of Liuba and her daughter Anya (Helena Ezquerro) is pasmo, elegance and originality.

Tierra Rusa

Yes cerezos garden It places value on the spirit useda mystery story for Western rationalists. Cheyov was not very religious, but we often repeated in the mouths of the brothers “Yes, God can help us”. García May included enough additions in his version, such as a wonderful poem in a patriotic tone about the Russian land, beautifully recited by a pedestrian (Borja Maestre).

The context we live in today also helps us translate into this geography. Other products were not repaired in Jarkov, today the second city of Ukraine that we knew from the war. Some characters easily travel to a city that was once occupied territory.

At the end of the show Some viewers commented on the misunderstanding by the procedure of the owners of the house, especially with Liuba Andrejevna Ranevskaia (Conesa), so that no one is ruined by the recognition of their old style of life.

How do I understand today the aristocratic spirit that Cheyov portrayed so well? Liuba and her brother are not self-sufficient, they know they have lost everything and that is precisely why they do not want to submit to the new social order. They prefer to continue living in their fantasy world, to the point where we have Gaev (Marcos Marín) say to his wife: “Now that everything happened, we calmed down and were happy”.

Cheyov was tanned aware of the world in transition he was experiencing as we can say to our friends today: we have fallen into the abyss that makes us feel and move and we know that our fall is inevitable.