This paper will use as a point of departure the productions of Chekhov’s
works by Canadian Soul Pepper Theatre Company, particularly the performance
of Uncle Vanya as well as other examples of staging, interpretation and
adaptation of Chekhov. The idea is to demonstrate that after the Theatre
of the Absurd, Chekhov of our time cannot be open solely with Stanislavskyan
keys. I will look at the text of Uncle Vanya, and its stage interpretations
to show that the work of this world classic prefigures, to some extent,
the Theatre of the Absurd, particularly in its treatment of time and space,
in its structural development, and in its sense of nihilism.
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