As far as page-to-stage, I definitely never pictured this play on a proscenium stage (I think, unless I’ve seen the show before I read it, I always imagine plays more cinematographically, thus I don’t picture them on stage at all) so I was very open to the intimate setting of UPS’ production (and the only production of it I’ve ever seen). I think, in terms of theatrical realism, it really bought a lot to have the show brought so close to us--it actually made it more like a film in the respect that we were afford close-ups of a kind. I saw a clip of some Vanya movie with famous actors in it (I can’t remember who produced it or who was in it other than that annoying doctor from Grey’s Anatomy) and it was shot really close-up with the actors just around a table. It seems to want this intimacy. I wonder if Vanya necessitates this closeness-- that without being right in the middle the audience wouldn’t as readily connect. Hmm. I can’t tell if I can’t picture in a proscenium setting because I’ve only seen it close-up or because it needs to be done that way. Hmm. I’m easily influenced though. I’m one of those people who after seeing a music video can only see that video in my head every time I hear that song or after seeing a book made into a movie can only picture the actors as those characters. Alas.
We read Vanya in Theater History II last spring and I remember liking it I guess, thinking it was depressing, but on the whole not being very affected by it. It just doesn’t do much for me. I know its realism and so the play has very little in terms of plot--it is really just about common people, regret, love, mundane living. I both like this and am also distanced by it. But, really I’m attracted to this kind of play in general. I like plays that aren’t super plot heavy, but are more about complexities of people and their relationships. Or seem profound to me on huge scale within a story about a few people. But as far as words on the page--I always underline lines that I find poignant or with which I connect, and in terms of the actual lines, I seldom felt inclined to underline Vanya. All the dialog seems realistic and believable... but I didn’t... think it was... poetic? Nah, I don’t think it needs to be more poetic... maybe it’s just “too real”? I don’t know... I don’t know why this dialog doesn’t really speak to me because it really does seem to fit the description of dialog I would love. Maybe I’m not quite old enough to connect with the ideas of “a life wasted.” I connect with the unrequited love thing, surely. Or even more so, the being in love with someone you know you will never be with. I’m attracted to the tragedy there for sure.
Another plus for its life on stage: it’s so much easier to keep track of characters when you can just see them versus having to flip back to the who’s who confusion of names and relationships!
Has anyone read August: Osage County? If not, you all should. It’s really good. It sort of reminds me of Vanya as far as its ties to the family drama (I’m not sure I can call Vanya a “family drama” as I think it’s too early, right? or just belongs with the realists?). August: Osage County was written as a deliberate return to the earlier traditions of theater with huge ensemble casts and back to more Vanya-like explorations of just people and relationships and the tragedies present in the mundane. Read it!
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August is coming to Seattle in October. I can't wait. I read it and have to say I didn't love it although I was very very tempted to pair it with Vanya for teaching purposes except that I thought they overlapped too well -- they're so alike I didn't feel like August would offer us enough that was new. I'd love to hear what you loved about August vs. what left you cold with Vanya.
ReplyDeleteAs to Vanya's poetry, you might try a different translation. This is probably not the space to go into translation theory, but a different one might do the trick. Sonya speech at the end seems chock full of poetry to me.
The movie is Vanya on 42nd Street. It's quite good I think. Very worth renting.
Meantime, it's worth thinking further about lots of the ideas you've raised here as they apply to your own writing. Do you prefer intimate realism or wide, far flung theatricality? How do these staging styles and choices and preferences and demands translate to and from the page? Vanya can be done on a proscenium in a huge space, but that's not your question. Your question is what about it on the page seems to you to forbid that, and do you like it or wish to avoid it yourself? And how.