《樱桃园》开篇，大卫·多伊阿什维利便充分展现了自己对舞台表现的高度驾驭能力。他没有选择复刻 百年前世纪之交的俄罗斯贵族庄园，而是搭起一片刻意模糊了时空和真假界限的空间，先让穿着杜邦纸 服装的演员把它一点点填满，再由时光将其淹没。 近日，北京人民艺术剧院新排作品《樱桃园》跨年上演，为重释经典做出了一次相当大胆的探索。 创作于俄罗斯文学巨匠契诃夫人生终章阶段的《樱桃园》，曾被北京人艺创始人之一、总导演焦菊隐誉 为"契诃夫的'天鹅歌'，是他最后的一首抒情诗"。此次新排《樱桃园》采用焦菊隐译本，导演大卫·多伊 阿什维利和多位主创艺术家则来自格鲁吉亚。 转自：贵州日报 《樱桃园》剧照。方非 摄 当剧中庄园农奴的后裔、商人罗巴辛向那些落魄又天真的贵族提出，要砍倒樱桃林盖起别墅时，一片哄 笑声响起，载满回忆的行李箱被推倒、踢翻，顺着斜坡滚落下来，一连串樱桃也被踩碎，汁水流淌若鲜 血蜿蜒。"《樱桃园》始终是一个关于变迁、转折的隐喻。"大卫·多伊阿什维利说，在当下这个变化纷 纭的世界，《樱桃园》的主题仍有现实意义。 在无法逆转的时代洪流面前，舞台上11个主要角色的反应耐人寻味。樱桃园被拍卖，大家各自迎来"新 生活"，有人黯然远 ...

大量即时影像的运用也是这一版《樱桃园》渲染情绪的突出手法。抖动的、仿佛带着体温的运镜与演员的表情特写呼应，在心灵空间与现实环境中交替游 走，进一步拓展了全剧的表演空间。 本报记者 高倩 近日，北京人民艺术剧院新排作品《樱桃园》跨年上演，为重释经典做出了一次相当大胆的探索。 创作于俄罗斯文学巨匠契诃夫人生终章阶段的《樱桃园》，曾被北京人艺创始人之一、总导演焦菊隐誉为"契诃夫的'天鹅歌'，是他最后的一首抒情诗"。此 次新排《樱桃园》，左手致敬，右手探索——它采用焦菊隐译本，导演大卫·多伊阿什维利和多位主创艺术家则来自格鲁吉亚。 现场 "木头盒子"装满隐喻 舞台被四面"包裹"，木色材料拼出一个紧凑的、放射状的"盒子"。这处近乎空白的"土地"，因回忆的注入鲜明起来——旅居法国的柳鲍芙耗尽资财，当她回 到祖传的樱桃园时，一切早已世殊事异。债台高筑的阴云下，各怀心事的人们在樱桃园里追忆往昔，他们用手中的粉笔画出古旧的柜子、明媚的窗景、盛开 的花朵，再以光影的"魔法"赋予它们翩然舞动的生命。 《樱桃园》开篇，导演大卫·多伊阿什维利便充分展现了自己对舞台表现的高度驾驭能力。他没有选择复刻百年前世纪之交的俄罗斯贵族庄园，而是搭 ...

Core Viewpoint - The new production of "The Cherry Orchard" by the Beijing People's Art Theatre, directed by David Doiashvili, pays tribute to the legacy of Anton Chekhov and explores the themes of change and nostalgia in a contemporary context, marking the 120th anniversary of the birth of its influential translator, Jiao Juyin [1][3]. Group 1: Production Details - The new version of "The Cherry Orchard" utilizes Jiao Juyin's translation and features a collaborative effort with artists from Georgia, aiming for a bold reinterpretation of the classic [3]. - The play will premiere and run until January 11, 2026, showcasing a unique stage design that creates a metaphorical "wooden box" representing the characters' memories and the passage of time [1][4]. Group 2: Thematic Exploration - The production emphasizes the theme of transformation, as characters confront the sale of the cherry orchard, reflecting on their past and future amidst societal changes [4][9]. - The director's approach includes a blend of visual and auditory elements, enhancing the emotional impact and allowing for a deeper exploration of the characters' struggles with time and loss [9][11]. Group 3: Artistic Innovation - Doiashvili's direction challenges traditional performance styles, encouraging actors to engage physically and emotionally with the audience, thus breaking the fourth wall [11][13]. - The collaboration between Chinese and Georgian artists aims to convey the depth of Chekhov's work while innovating the form, creating a new dramatic core for the classic [13].

Core Perspective - The article highlights the innovative direction taken by Beijing People's Art Theatre (Beijing Renyi) under the direction of Georgian director David Doiashvili, particularly in the adaptation of Chekhov's "The Cherry Orchard" to commemorate the 120th anniversary of translator Jiao Ju-yin's birth [1][4] Group 1: Artistic Interpretation - Doiashvili's interpretation of "The Cherry Orchard" transcends the physical representation of a 19th-century Russian aristocratic estate, elevating it to a universal symbol of "everyone's childhood and past" [1] - The production breaks away from traditional interpretative patterns, allowing for a deeper dialogue between the classic text and contemporary themes [1] Group 2: Performance Style - The director merges emotional expressiveness from the Russian theatrical system with avant-garde elements from Western drama, injecting new vitality into Beijing Renyi's performances [2] - The portrayal of characters' loneliness and indifference is amplified, with overlapping dialogues creating a sense of emotional detachment that resonates with modern audiences [2] Group 3: Stage Design and Aesthetics - The stage design features symbolic and modern elements, creating a visually striking and metaphorically rich space, including slanted floors and rain effects [3] - The use of chalk drawings and projection technology blurs the lines between reality and illusion, enhancing the thematic depth of nostalgia and future aspirations [3] Group 4: Actor Performance and Challenges - Actors at Beijing Renyi are encouraged to explore new performance languages, moving away from their established Stanislavski-based methods, which presents both challenges and opportunities for growth [4] - While Doiashvili's creative approach is commendable, some repetitive techniques and pacing issues were noted, indicating areas for improvement [4]

Core Viewpoint - The 2025 Beijing People's Art Theatre International Drama Invitation Exhibition aims to bridge cultural exchanges through diverse performances from various countries, showcasing the universal language of drama and its emotional resonance across cultures [2][4]. Group 1: Event Overview - The exhibition will take place from October 11 to November 26, 2025, featuring 14 performances from 9 countries, totaling 42 shows [2]. - Notable productions include Italy's "One Servant, Two Masters," France's "The Screens," and Germany's "The Threepenny Opera," highlighting the event's international scope [2]. Group 2: Cultural Exchange and Collaboration - The exhibition serves as a platform for cultural exchange, celebrating the 50th anniversary of diplomatic relations between China and the EU, with participation from major European theatre companies [4][5]. - Beijing People's Art Theatre has established a cooperative mechanism for theatre exchanges, promoting mutual visits and equal exchanges with various international theatres [5]. Group 3: Innovation in Theatre - The opening performance will be a new adaptation of "Hamlet," showcasing the confidence of Chinese theatre artists and their innovative interpretations of classic works [6]. - The exhibition emphasizes innovation as a core principle, with directors like David Doiaashvili bringing fresh perspectives to classic plays, enhancing audience engagement [6][7]. Group 4: Audience Development - The theatre prioritizes nurturing audiences, especially students, by offering affordable ticket prices for educational performances, benefiting over 500,000 students [10]. - The exhibition includes lectures to deepen audience understanding of international productions, encouraging active engagement with the art form [11]. Group 5: Future Directions - The exhibition aims to enhance international collaboration and provide diverse content, aspiring to become a model for cultural exchange and elevate the influence of Chinese civilization [12].

Core Points - The article highlights the enduring artistic vitality of French actress Isabelle Huppert, who continues to perform with passion and creativity at the age of 72, recently touring China with the play "The Cherry Orchard" [1][2] - Huppert's performance style is characterized by subtlety and precision, earning her recognition as one of the best actors of her time, with accolades including a second-place ranking in The New York Times' list of the best actors of the 21st century [2][4] - The production of "The Cherry Orchard," directed by Tiago Rodrigues, remains faithful to Chekhov's original work, focusing on the emotional struggles of a noble family facing the loss of their ancestral estate [2][6] Performance Insights - Huppert's portrayal of Lyuba Ranevskaya in "The Cherry Orchard" is marked by a restrained emotional expression, contrasting with previous interpretations that emphasized more overt emotionality [5][6] - The minimalist staging and non-naturalistic direction of the play allow for an open interpretation by the audience, encouraging personal connections to the character and the narrative [6][8] - Huppert's ability to convey complex emotions through subtle physicality and micro-expressions enhances the audience's engagement with the character's internal struggles [5][6] Cultural Exchange - Huppert expresses a strong appreciation for Chinese cinema, citing films like "Daylight Fireworks" and "Roadside Picnic" as examples of works that resonate with European audiences [7][8] - The actress emphasizes the universal language of film and theater as a means of fostering understanding and emotional connections across cultures [8] - Huppert is open to future collaborations with Chinese filmmakers and expresses a willingness to learn Mandarin to enhance her engagement with Chinese roles [8]