Abstract: This article is dedicated to the analysis of trends in interpretation of A. P. Chekhov's play “Uncle Vanya” in modern theater. The subject of this research is the four theatrical productions of the play on the national stage: by Rimas Tuminas in Vakhtangov Theatre (2009), by Andrei Serban in Alexandrinsky Theater (2009), by Andrei Konchalovsky in Mossovet State Academic Theatre (2009) by Stéphane Braunschweig in the State Theatre of Nations (2019). These productions reflect the eternal existential questions raised in A. P. Chekhov’s play, as well as the relevant transformations in modern perception of the play. Examination of the aforementioned productions, as well as their analysis in the context of Chekhov's play and modern life realities in comparison with such in the XIX century, has not previously become a separate object of research. The scientific novelty consists in comprehension of the message delivered by play written in the late XIX century for the XXI century, as well as in determination of problems relevant to a contemporary person that are raised in the play. Using the meaning-making topics of the play, stage directors imply death of kindness, deterioration of nature and human, human disunity and misunderstanding. Therefore, the play “Uncle Vanya” indicates its timeliness and everlasting lifelikeness for the XXI century.

Abstract: The proposed article examines the current state of Chekhov's plays in theatrical productions in connection with a provocative essay by the English theater critic John Friedman. The aim of the study is to study the problem of the current state of Chekhov's plays in the modern theater and to refute the judgments proposed by D. Friedman about the need to stop Chekhov's productions due to the loss of the original meaning of the plays. In the course of the work, the main provisions of the English critic concerning the playwriting of A.P. Chekhov and the place of the Russian playwright in the modern theater and world literature are examined, and the controversy that arose in Chekhovsky Vestnik in response to an essay among literary critics, theater critics, directors and students. The basis of our research is based on such literary methods as: comparative, analytical, critical, typological, historical and functional. The ambiguity of interpretations of Chekhov's plays has long been a concern for Chekhovs, and the novelty of our research is that this work contributes to the broadening of views on this problem and contributes to the study of today's attitude to Chekhov's plays and the semantic content of his drama. In addition, the point of view of the English critic and the controversy of Chekhov's experts on the work did not previously become independent objects of study. As a result of the work, a conclusion was proposed on the undying interest in Chekhov's plays, the depth of which pushes the directors to constantly rethink them. Thus, the development of modern theater can not be imagined without Chekhov's plays.