Provider: - Institution: - Data provided by Europeana Collections- The staging Uncle Vanya and the 12 bouquets follows the plot structure of Chekhov's play, but takes away the thick weaving of the social context of the time of its origin. This sets the play into contemporary times. The motives as propositions for the staging of the given human states and relations are connected by the text, the story, but in a discontinuity which sets asunder the time delays, introduces simultaneity of the layers of awareness and sentiment. The concentration and dynamics are focused on the stage image - a vignette whose rhythm is dictated by the inner flow of lines of force interwoven in the demonstrated relation. The staging primarily takes into account the innovation in the dramatics of Chekhov, which is negative dramaturgy. Chekhov announces it - yet undiscovered - in his earlier plays and manifests it in the replacement of classic dramaturgical forms with textual and discursive mechanisms. This is a historical and at the same time contemporary approach, for it is possible to apply it to the modern-day staging practices as well, enabling reduction (of characters, sceneries, words, secondary motives), with special attention placed on the selection and the right measure. In such a procedure, the fundamental principles and problems of Chekhov's dramatics and dramaturgy remain intact. The excerpt from the text Uncle Vanya and the 12 bouquets by Petra Tanko- Uprizoritev Striček Vanja in 12 šopkov sledi fabulativni zgradbi drame Čehova, a ji odvzema gosto tkanje družbenega konteksta časa njenega nastanka. S tem jo premešča v današnji čas. Motive kot predloge za uprizarjanje danih človeških stanj in odnosov, povezuje besedilo, zgodba, vendar v diskontinuiteti, ki razpira časovne zamike, uvaja hkratnost plasti zavedanja in čustvovanja. Koncentracija in dinamika sta osredotočeni na odrsko sliko - vinjeto, ki ji ritem narekuje notranji pretok silnic, ki se prepletajo v prikazovanem odnosu. Uprizoritev v prvi vrsti upošteva inovacijo v dramatiki Čehova, to je negativna dramaturgija. Čehov jo - še neodkrito - naznanja že v zgodnejših dramah in udejanja v nadomeščanju klasičnih dramaturških oblik z besedilnimi in diskurzivnimi mehanizmi. To je historičen in hkrati sodoben pristop, saj ga je možno aplicirati tudi v današnje uprizoritvene prakse, ki omogoča redukcijo (oseb, prizorišč, besed, stranskih motivov), s posebno pozornostjo na izboru in pravi meri. Pri tovrstnem postopku temeljna načela in problemi Čehovove dramatike in dramaturgije ostanejo neokrnjeni. Odlomek iz besedila: Striček Vanja in 12 šopkov, Petra Tanko- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana