about the production
In its sobriety and conciseness in form and acting, Krobot‘s direction of Chekhov’s The Three Sisters, in the Dejvice Theatre, resembles the simple line about the falling snow in the play itself. Our attention is not drawn (and therefore nor distracted nor diverted) by a striking aesthetic stylisation or controversial interpretation that turns everything upside down, or stresses some motives and disadvantages others. The remarkable point is that with Krobot, we laugh more than it is usual to laugh at other productions of this play.
(...) Absurd situations, created by the shortening or deleting of some speeches, and by the specific arrangement of characters, represent the directional principle of the production that “uncovers“ the main characters.
Marie Reslová, Svět a divadlo
The production of the Dejvice Theatre avoids major changes to the original text. However, Miroslav Krobot continues to a certain extent in the method of “unapparent absurdity“, which was used successfully in Oblomov: unfinished speeches remain hanging helplessly in mid-air, their meaning vanishes and sometimes the uneasiness can be almost touched. This principle is naturally included in the text, but it is accentuated and determines the overall effect of the production.
(...) Although The Three Sisters from Dejvice are very consequent in the expression of the depressive atmosphere of general indifference, this production is mostly cheerful, with small gags, absurd puns, and situational humour. The director and most of the actors can find humour in the moments where usually Chekhov productions (even the more comical ones) are not full of humour. However, this joy embarrasses and hurts, thus enforcing the overall gloom.
Vladimír Mikulka, Lidové noviny
The Dejvice Theatre under the leadership of Miroslav Krobot has been rendered by theatre specialists among the best contemporary Czech theatres. (The Dejvice Theatre together with the Prague “Činoherní klub” Theatre were awarded the Alfréd Radok Prize and became the Theatre of the year 2002).
Bronislav Pražan, Týdeník Rozhlas
directed by: Miroslav Krobot
translation: Leoš Suchařípa
setting: Martin Dejwitz
movement assistance: Klára Lidová
characters and cast:
Andrej Prozorov: Jaroslav Plesl, Natália: Jana Holcová, Oľga: Klára Melíšková, Máša: Tatiana Vilhelmová, Irina: Lenka Krobotová, Fjodor Kulygin: Tomáš Pavelka, Alexander Veršinin: Ivan Trojan, Nikolaj Tuzenbach: David Novotný, Vasilij Solený: Lukáš Hlavica, Ivan Čebutykin: Pavel Šimčík, Alexej Fedotík: Jan Dvořák, Ferapont: Zdeněk Dolanský, Anfisa: Simona Babčáková, Chambermaid: Pavla Dvořáková
Miroslav Krobot (1951)
Miroslav Krobot belongs to the most renowned personalities in Czech theatre with his over 25-year-long successful career as a director. In 1988 – 1996 he worked as the director of the National Theatre in Prague. In the Dejvice Theatre he has been the artistic director, director and actor since 1996. He teaches at the Department of Alternative Theatre and Puppetry of the Academy of Performing Arts in Prague. As a playwright he is known for his play Syrup staged in 2002. He is the holder of several prestigious awards: The Czech Literary Foundation Award in 1985 for staging of V. Shukshin: Palm Lines and in 1988 for the production T. Dorst: Merlin or the Wild Country, and in 1993 – the Alfred Radok Prize for the production of the year and the Czech Literary Foundation Award for the production A. and V. Mrštík’s A Year On a Village (National Theatre), in 2000 – the Czech Literary Foundation Award for I. A. Goncharov Oblomov (Dejvice Theatre), in 2002 A. Radok Prize – the talent of the year for the role of the Father in the Stories of Ordinary Madness – (Dejvice Theatre).