The early evening and night in the Russian countryside is a unique phenomenon. Mute in its stillness but full of sound and movement as if the earth itself has come alive. Humming and buzzing with life. A myriad of creatures, birds and insects live out their fate and the forest stirs with unseen movement. It is the time when the emotions become attuned to the world and it seems we hear the fullness of its shifting chords and languid phrases. It is the time which Chekhov often chose in his plays to reveal the heightened awareness of the characters, where they re experience life’s betrayals and traumas as the intensity of the night encloses around the already enclosed world of the dacha.
Anyway that’s enough lyricism for one blog – on with the work. I work all day now, writing and sifting through the material for the films. I work better in the open air and even better when it rains for some reason. The long days give ample opportunity for prolonged activity and for thinking through ideas. Step by step the plans are beginning to take shape, gradually gaining coherence as well substance. Early days still but good progress.
Chekhov
Chekhov Country – Hot and hardly visible
Returned from the Russian countryside after almost three weeks. Not exactly a place of Chekhovian atmospheres and moods. Such things are hard to find nowadays in the Russian countryside but with wild fires billowing in the hot summer wind and temperatures of up to 40 degrees, those lazy dreaming Russian summers seem like a thing of the long distant past. Which is something Chekhov was already hinting at in The Cherry Orchard. We left Moscow as the heat started to become unbearable and headed out to a an old soviet style holiday rest complex. It was built as a Pioneer camp for soviet school children but has been converted into a kind of holiday complex for adults. There we escaped the worst of the smog and smoke from the fires. I took the main computer with me and was able to get a considerable amount of work done especially on the Stanislavsky Film “Stanislavsky and the Metamorphosis of Russian Theatre”. The script is more or less fleshed out and ready for recording. I have a good narrator in mind, James Langton, an English actor who lives in New York. He has just completed the narration for the other film I have in post production “The Japanese Garden – Art, Landscape and Meaning”. The title may appear elsewhere under a different variation until I can settle on a version that I am happy with. James delivered the final text with the corrections I had requested and I can now start to complete the film. Excellent narrator of text and I am very happy with the result. I will work on “Stanislavsky and Metamorphosis” parallel with the Japanese film. Now back in Moscow and coping with the unendurable heat.