Moscú no existe

The company L’Om Imprebís stages from 8 October to 8 November, Tuesdays to Sundays, at the Sala Jardiel Poncela of the Fernán Gómez Centro Cultural de la Villa a work that takes as its starting p

La compañía L’Om Imprebís representa del 8 de octubre al 8 de noviembre, de martes a domingos, en la Sala Jardiel Poncela del Fernán Gómez Centro Cultural de la Villa una obra que toma como punto de partida el universo dramático de Antón Chéjov para construir un retrato profundamente contemporáneo de una sociedad marcada por la incertidumbre, el desencanto y la espera.

Far from proposing a conventional adaptation, the work fuses into a single narrative the four great plays of the Russian playwright: Uncle Vanya, The Seagull, Three Sisters and The Cherry Orchard. Through this original proposal, it offers a reflection on the frustrations of our time. The result is a "human symphony" in which Chekhov's characters converse with the concerns of the 21st century: the loss of dreams, collective anxiety, cynicism and the sensation of watching impassively as a world crumbles.

Through the author's own texts, the show gives voice to four characters who embody thoroughly current conflicts: Ivan represents those who discover too late that they have devoted their lives to fulfilling other people's expectations, Aleksei symbolises economic success built as a refuge from existential emptiness, Ania embodies a generation of young artists caught between precarity and the need to go on believing in their ideals, and Anfisa gives a face to invisible care and to those whom a utilitarian society sets aside when they cease to be considered useful. All of this without giving up the irony and humour that characterise Chekhov's writing.

The production arises from the encounter between the experience of L'Om Imprebís, a company with over four decades on the stage, and the French director and reference figure of improvisational theatre Michel López. Together they explore a form of creation based on writing on stage, a language they had already developed in pieces such as Imprebís and Hoy no estrenamos, and which they now put at the service of the great classi