Reconstruction of The Seagull Staged by the National Theatre in Subotica (1973)

In the Context of Contemporary Criticism and Chekhov Cult

Abstract

The study analyses The Seagull by Anton Pavlovich Chekhov, directed by István Szabó Jr. in the production of the National Theatre in Subotica. The theatre-cultural context of the performance is the rich and constantly evolving cult of Chekhov in theatre-historical milieu of Vojvodina. The production is based on the text translated by Imre Makai. Contemporary criticism has not indicated any changes made to the structure or text of the play. The following remarks have been made: The staging was largely focused on creating the Chekhovian atmosphere, the acting was less precise, the smaller episodic roles were more successful, and the best performance of the production was given by Eta Süveges (Mashenka). According to the critics, the set and costume design by Pál Petrik were the most successful components of the production, with the highly expressive, magnificent scenery, costumes and appropriate stage lighting creating the Chekhovian atmosphere to a high standard. As to the significance of the production, the opinion of the small number of contemporary critics is mixed. Nevertheless, it was considered a success with audiences in Subotica.