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Continue For the musical written by Oscar Hammerstein II and Jerome Kern, see (musical). Trish is redirecting here. For the Czech punk rock band, see Tři forests. For opera by Péter Eötvös, see Tri forestry (opera). Three SistersCover of first edition, published in 1901 by Adolf MarksWritten by Anton TchekhovCharactersProzorov family: Olga romanized: Tri forestry) is a work by the Russian writer and ,'لри сeстрل :Sergeyevna Prozorova Sergeyevna Kulygina Irina Sergeyevna Prozorova Andrei Sergeyevich Prozorov Date premiered 1901 (1901), MoscowOxin language RussianGenreDramaSettingA provincial Russian garrison city Chekhov in a 1905 illustration. Three Sisters (Russian playwright Anton Tchekhov. It was written in 1900 and first presented in 1901 at the Art Theatre. The work is sometimes included in Chekhov's short list of outstanding works, along with Cherry Orchard, and . [1] Characters Prozorovs Olga Sergeyevna Prozorova (Olga) - The larger of the three sisters, is the matriarchal figure of the Prozorov family, although at the beginning of the work she is only 28 years old. Olga is a high school teacher, where she often fills in as principal whenever the principal is absent. Olga is a spinster and at one point tells Irina that she would marry any man, even an old man if he had asked her. Olga is very maternal even in the elderly servants, holding the elderly nurse/detainee Anfisa, long after she has ceased to be useful. When Olga reluctantly takes on the role of director permanently, she takes anfisa with her to escape the clutches of heartless Natasha. Maria Sergeyevna Kulygina (Masha) - The middle sister, is 23 at the beginning of the project. She married her husband, Kuligin, when she was 18 and just left school. When the play opens he is disappointed in the marriage and falls completely in love with the idealistic Lieutenant Colonel Vershinin. They're starting a secret case. When she is carried away, she is crushed, but returns to life with her husband, who accepts her back despite knowing what she has done. She has a brief temperament, which is often observed throughout the game, and is the sister who disapproves of most of Natasha. On stage, her immediacy often serves as a tonic to melodrama, and her spirit appears as heroic. Her vitality provides most of the work surprisingly plenty of humor. He trained as a concert pianist. Irina Sergeyevna Prozorova - The younger sister, is 20 at the beginning of the project. It's her nominal day at the beginning of the play, and although she insists she's an adult, she's still enchanted by things like a rotating blouse fedochik brought her. The only desire is to return to Moscow, which they left eleven years before the project began. She thinks she's going to find her true love in. In. But when it becomes clear that he is not going to Moscow, he agrees to marry Baron Tusenbach, whom he admires but does not love. She gets her teaching degree and plans to leave with the Baron, but Soloni shot and killed him in a pointless duel. She decides to leave anyway and devote her life to work and service. Andrei Sergeievic Prozov (Andrei) – The brother of the three brothers. In Act I, he is a young man who is on a fast track to being a professor in Moscow. In Act II, Andrei still yearns for his old days as a bachelor dreaming of life in Moscow, but is now, because of the poor conception of his marriage to Natasha, stuck in a provincial town with a baby and a job as secretary of the County Council. In Act III, his debts have risen to 35,000 rubles and he is forced to mortgage the house, but he does not tell his sisters or give them any shares in the family home. Act IV finds Andrei a pathetic shell of his former self, now the father of two. He acknowledges that it is a failure and laughed at the city for being a member of the village council whose president, Protopopov, cheats on him. Natalia Ivanovna (Natasha) - Andrei's love interest at the start of the project, later his wife. She begins the play as a clumsy young woman who dresses badly and hides her true nature. A lot of fun is made from her ill-made green belt by the sisters, and she explodes into tears. She obviously doesn't have a family of her own, and the reader never learns her maiden name. Act II finds a very different Natasha. She has become bossy and is using her relationship with Andrei as a way to manipulate the sisters to do what she wants. He has started a case with Protopov, the head of the local council (which he has never seen), and Andrei's cuckolds almost blatantly. In Act III, she has become even more controlling, facing Olga head for conservation for Anfisa, the elderly, loyal servant, whom she commands to stand in her presence, and throwing temper nerves when she doesn't get her way. Act IV finds that she has inherited control of the house from her weak, vacillating husband, leaving the sisters dependent on her, and, like the châtelaine, plans to radically change the reasons for her liking. It can be argued that the vicious, manipulative, self-absorbed Natasha, who cares about no one but her children, Bobbik and Sophia, on whom she is fatuously, is the complete winner until the end of the play. Fyodor Ingyich Kulygin - Masha's older husband and Latin teacher in high school. Kulygin is a jovial, kindly man, who really loves his wife, and although she is very aware of her infidelity. In the first act she seems almost silly, giving Irina a gift he has already given her, and joking around with the doctor to make fun of Natasha, but it starts to grow more and more sympathetic as Massa's case unfolds. During the fire in Act 3, he confesses to Olga Olga they could have married her - the fact that the two would probably be very happy together is hinted at many times during the game. Throughout the play, often in the most serious moments, he often tries to make the other characters laugh to relieve tension, and while that doesn't always work, he is able to give his wife solace through humor in her darkest hour at the climax of the play. At the end of the play, though knowing what Masha had done, he takes her back and accepts her failures. Soldiers Konstantin Stanislavski as Vershinin Aleksandr Ignatyevich Vershinin - Lieutenant Colonel ordering artillery battery, Vershinin is a true philosopher. He knew the girls' father in Moscow and they talk about how when they were little they called him Lovesick Major. During the game, despite being married, he enters an affair with Masha, but has to finish it when the battery is transferred. He often mentions how his wife regularly attempts suicide (and has two daughters), but seems not to care. His first act speech about the hope he has for culture speaks directly to Masha's melancholy heart, and, as soon as he hears it, declares I'm staying for lunch. Baron Nikolaj Lvovich Tusenbach - A lieutenant in the army and not considered handsome, Tujenbach often tries to impress Irina, whom he has loved for five years. She quits the army to go to work in an attempt to impress her. He is repeatedly mocked by Solyony and between Acts III and IV, he retaliates and urges Solyony to declare a duel. Killed in the duel, the purpose of his union and Irina is sad. Personal Captain Vasily Vasilyevich Solyony - A captain in the army, Solyony is a social misfit and a rather modern kind of antihero. He's in love with Irina and he's trying to put the Baron down to look better, but Irina finds him unsying and unattractive. He spends most of his time taunting the Baron, who is the closest thing he has to a friend, and ends up killing him in a pointless duel. He is said to have a remarkable resemblance to the poet Lermontov in both face and personality, often quoting him. He always carries a small bottle of perfume which he often (almost pathologically) sprinkles his hands and body with; later it is revealed that he is doing it to mask the smell of the bodies on him. Ivan Romanovich Chebutykin - Sixty years old and an army doctor, Chebutykin starts out as a fun, eccentric old man who exults in his place as a family friend and dedicates to Irina the expensive gift of a samovar. Later in the III, while drunk, suffers from an existential crisis and reveals to everyone about the case of Natasha and Protopov. In Act IV, however, he seems to have come to terms with his judgment or may have been violated by it. She loved the mother of the brothers (whose name is never mentioned), but was married. Alexei Petrovic Fediek - A A Fedotik hangs around the house and tries to express his love to Irina, buying her many gifts. He is also an amateur photographer, and takes photos of the team and Irina. In Act III, he loses all his possessions in the fire, but retains his joyous nature. Vladimir Karlovich Rode - Another sub-lieutenant, Rode is a drill coach in high school. Other Nerapont - Door-guard at the offices of the local council, Nerapont is an old man with partial hearing loss. He repeatedly reveals random events, usually related to Moscow. Anfisa - An elderly family servant and former nurse, Anfisa is 81 years old and has worked forever for the Prozov family. Natasha begins to despise her for her weakness and threatens to throw her out, but Olga saves her by taking her to live in Olga's teacher's apartment. Unseen characters The play has several important characters that speak often but never appear on stage. These include Protopov, head of the local council and natasha's lover. Versinin's suicidal wife and his two daughters. Kulygin's favorite senior is the high school principal and his children Andrey and Natasha Bobik and Sofia. JL Styan argues in The Elements of Drama that in the last act Tchekhov revised the text to show that Protopopov is Sofia's real father: Children must be looked after by their respective fathers-Andrey pushes Bobik in his stroller and Protopopov sits with Sofia. [2] [3] The Summary Act begins with Olga (the older sister) working as a teacher at a school, but at the end of the game she becomes a principal, a promotion in which she had little interest. Masha, the middle sister and artist of the family (trained as a concert pianist), is married to Feodor Inglyich Kulygin, a teacher. At the time of their marriage, Masha, younger than him, was enchanted by what he got to be wisdom, but seven years later, he sees through his pedicure and his clown attempts to fill the gap between them. Irina, the younger sister, is still full of expectations. She talks about her dream of going to Moscow and meeting her true love. It was in Moscow that the sisters grew up, and they all yearn to return to the sophistication and happiness of that time. Andrei is the only boy in the family, and the sisters idolize him. He is in love with Natalia Ivanovna (Natasha), who is somewhat common in relation to sisters and suffers under their gaze. The play begins on the first anniversary of their father's death, but it is also irina's name-day, and everyone, including soldiers (led by Vershinin) bringing with them a sense of noble idealism, comes together to celebrate. In the very closest of the act, Andrei exultantly confesses his feelings to Natasha in private and fatally asks her to marry him. Act two begins almost a year later with Andrei and Natasha married on their first (off stage), a little boy named Bobik. Natasha is related to Protopov, Andrei's superior, a character who is mentioned but has never been seen on stage. Masha comes home washed away from a night out, and it's clear that she and her partner, Lieutenant Colonel Vershinin, are giddy with the secret of their mutual love for each other. Little seems to be the case, but that Natasha manipulatively handles plans for a party at home, but the resulting quiet shows that all cheer is being cancelled as well. Tuzeenbach and Solioni declare their love for Irina. Act Three takes place about a year later in Olga and Irina's room, a clear sign that Natasha is taking over the household as she asked them to share rooms so that her child could have a different room. There was a fire in the city, and, in crisis, people pass in and out of the room, carrying blankets and clothes to give help. Olga, Masha and Irina are angry at their brother, Andrei, for subsuing their house, keeping the money to pay off his gambling debts and giving all his power to his wife. However, when confronted with Natasha's cruelty to their elderly family servant, Anfisa, Olga's best efforts to stand up to Natasha come to nothing. Masha, alone with her sisters, confides in them her romance with Versin (I love, I love, I love this man). At one point, Kulygin (her husband) blunders into the room, doting more and more foolishly on her, and she watches out. Irina despairs at the common turn her life has taken, the life of a municipal worker even as she rails into the madness of her ambitions and her education (I can't remember the Italian for window). Since her resignation, backed up in this from Olga's realistic perspective, Irina decides to accept Tutzenbach's offer of marriage, even if she doesn't love him. Chebutykin drunkenly stumbles and breaks a clock that belonged to the prozov brothers' late mother, whom he loved. Andrei then vents his hatred of himself, acknowledges his own awareness of the madness of life and his frustration with Natasha, and begs his brothers' forgiveness for everything. In the fourth and final act, outdoors behind the house, the soldiers, who until now are friends of the family, prepare to leave the area. A flash photo has been taken. There is a stream of tension because Solyony has challenged the Baron (Tutzenbach) to a duel, but Tutzenbach intends to hide it from Irina. He and Irina share a heartbreakingly delicate scene which confesses that she cannot love him, likening her heart to a piano whose key has been lost. Just as the soldiers leave, a shot is heard, and Tusenbach's death in the duel is announced just before the end of the game. Masha must be pulled, sobbing, out of Versinin's hands, but her husband willingly, compassionately and very generously accepts her back, without questions. Olga reluctantly accepted position of permanent principal of the school where she teaches and moves. She takes Anfisa with her, thus saving the elderly woman from Natasha. Irina's fate is uncertain, but, even in her grief over Tzenbach's death, she wants to stick to her job as a teacher. Natasha remains as chatelaine, responsible and controlling everything. Andrei is stuck in his marriage with two children, the only people Natasha cares about, except for herself. As the play closes, the three sisters stand in a desperate embrace, gazing away as soldiers depart for the sound of a band's gay march. As Chebutykin sings Ta-ra-ra-boom-di-ay about himself,[nb 1] Olga's final lines call for an end to confusion and all three feel in the suffering and joy of life: If we only knew... If only we knew. Premiere The play was written for the Moscow Art Theatre and opened on 31 , under the direction of Konstantin Stanislavski and Vladimir Nemirovic-Danchenko. Stanislavski played Vershinin and the sisters were (for whom Tchekhov wrote the part of Masha), Margarita Savitskaya as Olga and Maria Andreyeva as Irina. Maria Lilina (Stanislavsky's wife) was Natasha, Vesevolod Myerhold appeared as Tusenbach, Mikhail Gromoff as Solioni,[nb 2] Alexander Artiom as Artem Chebutikin, Iosaf Thiomirov as Fedochik, as Rode, Vladimir Grybin as Ferrapont and Maria Samarova as Anfasa. [4] [5] Reception was mixed. Chekhov felt that Stanislavsky's exuberant direction had masked the subtleties of the play and that only Kniper had shown her character to develop in the way the playwright intended. In the directors' view, the point was to show the hopes, ambitions and dreams of the characters, but the audience was influenced by the passion of the brothers' loneliness and despair and by the possible, indisappointed acceptance of their situation. Nevertheless the piece proved popular and soon established itself in the company's repertoire. [6] [7] Notable Production Dates Production Director Notes May 24, 1965 BBC Home Service John Tydeman English translation by Elisaveta Fen; adapted for radio by Peter Watts; cast included Paul Scofield, Lynn Redgrave, Ian McKellen, Jill Bennett, among others[8] September 29, 1979 The Other Post, Stratford-upon-Avon Trevor Nunn Version by Richard Cottrell[9] March 28, 1990 , and Royal Court Theatre, Adrian Noble edition by Frank McGuinness with Real Life Sisters in title roles: Sinéad Cusack as Masha, Sorcha Cusack as Olga and Nia Cumhsack as Irina. Their father, Cyril Kuzak, played Chutkin. August 30 - October 13, 2007 Soulpepper, Toronto László Marton Edition by Nicolas Billon November 2008 Regent's Canal, Camden, London. Tanya Roberts An adaptation by Metra Theatre[10] July 29 - August 3, 2008 Playhouse, QPAC, Brisbane Declan Donnellan Chekhov Chekhov Theatre Festival (Moscow), part of the Brisbane Festival 2008 May 5, 2009 - June 14, 2009 Artists Theatre Repertoire, Portland Jon Kretzu Adapted by Tracy Letts[11] January 12 - March 6, 2011 Classic Stage Company, NYC Austin Pendleton Real life wife and wife actresses Maggie Gyllenhaal and Peter Sarsgaard starred. [12] February 14 - March 8, 2020 The Bindery, San Francisco Angie Higgins Starring Marcia Aguilar[13] John Gielgud's landmark 1936-37 season at the Queen's Theatre included a welcome production with as Irina and Michael Redgrave as Tusenbach. In 1942, Judith Anderson portrayed Olga, Katherine Cornell portrayed Masha, Gertrude Musgrouve portrayed Irina, and Ruth Gordon portrayed Natasha on Broadway. The production was important enough to land the cast on the cover of Time on December 21, 1942, which declared it a dream production by anyone's estimation – the most glamorous cast the theater has seen, commercially, in this generation. [14] The inaugural 1963 season of Guthrie Theatre included a production with Jessica Tandy as Olga. There is a filmed record of a mid-1960s production by the with Kim Stanley and Geraldine page as Masha and Olga, respectively, supported by Irina and Sandy Dennis and Shelley Winters as Natasha. American Film Theater in 1970 shot a version with a witty Masha by Joan Plowright opposite Alan Bates as Vershinin, with Ronald Pickup as Tusenbach and , who co-directed, playing Chebutykin. The film was based on a theatrical production that Olivier directed at the in 1967. Rosemary Harris, Ellen Burstyn and Tovah Feldshuh played Olga, Masha and Irina at the Brooklyn Academy of Music in the 1970s with René Auberjonois as Solyony. A 1982 production at the Manhattan Theatre Club, it had Dianne Wiest as Masha, Lisa Baines as Olga, Mia Dillon as Irina, Christine Ebersole as Natasha, Sam Waterston as Vershinin, Jeff Daniels as Andrei, Bob Balaban as Tusenbach, and Jack Gilford as Chebutykin. Chicago's Steppenwolf Theater Company put one together under the direction of Austin Pendleton, with Molly Regan as Olga, Joan Allen as Masha, Roddy Reid as Natasha and Kevin Anderson as Soloni. In 1985 Casper Wrede directed a production at the Royal Exchange, Manchester with Cheryl Prime as Natasha, Emma Piper as Olga, Janet McTeer as Masha, as Irina and Espen Skjonberg as Dr Chebutykin. The Roundabout Theatre in New York had Jerry Stiller as Chebutykin, Billy Crudup as Solyony, Eric Stoltz as Tutzenbach, Lili Taylor as Irina, Paul Giamatti as Andrei, Amy Irving as Olga, Triplehorn as Masha, Calista Flockhart as Natasha and David Strathairn as Vershinin. In 1990, the Irish theatrical dynasty, the Cusacks, was thrown into the play, in a remake of Frank McGuinness, which opened at the Gate Theatre in Dublin with three sisters Sinéad Cusack (Masha), Sorcha Cusack (Olga) and Niamh Cusack (Irina) in the title rôles and their father Cyril Cusack as Dr Chebutykin. [15]. This is the only production that has ever thrown three real sisters, professional actors to their rights, into the title rolls. The production, directed by the then newly appointed Artistic Director of the Royal Shakespeare Company, Adrian Noble, was moved to London's Royal Judicial Theatre for a sell-out season in 1991. Among the supporting cast were Lesley Manville as Natasha and Finbar Lynch as Tusenbach. In 1991, sisters Vanessa Redgrave (Olga) and Lynn Redgrave (Masha) made their first and only appearance together on stage in it, with niece Jemma Redgrave as Irina at the Queen's Theatre, London. The play was produced in 2010 at Lyric Hammersmith by Filter with a cast that includes Poppy Miller, Romola Garai and Clare Dunne. [16] In 2003, Romanian director Radu Afrim adapted the play into a controversial production at the Andrei Mouresanu Theatre in Sfantu-Gheorghe, which was heavily criticised by Michael Billington but praised by other critics, leading to a local co-production in the Romanian press that would catapult Afrim into a national superstar in Romanian theatre. [17] [18] [19] [20] In 2010, the play was adapted by Prague's Na Fidlovačce Theatre as Tři. The sisters played Andrea Černá, Zuzana Vejvodová and Martina Randová and other actors were Otakar Brousek ml. as Vershinin, Tomáš Töpfer as Doctor Chebutykin In 2011, the play was adapted by Blake Morrison for The Northern Broadsides as We Are Three Sisters, drawing parallels with the lives of the Brontë brothers. [21] In 2012, the play was staged at the Young Vic, directed by Benedict Andrews in its own remake. The cast included Vanessa Kirby, Maria Gale and Sam Guton. In 2014, the play was staged at the Southwark Playhouse, directed by Russell Bolham. The cast included Olivia Hallinan, Holliday Granger and Paul McGann. In 2017, the play was staged at the Studio Theatre directed by Jackson Gay in conjunction with a contemporary adaptation titled No Sisters directed by Aaron Posner. [22] In 2017, the play was staged by the Sydney Theatre Company at the Sydney Opera House Drama Theatre from November 6 to December 16. The new adaptation was by Andrew Upton and the cast included Alison Bell as Olga, Miranda Daughtry as Irina and Harry Greenwood as Tusenbach. [23] The Irish pop group The Divine Comedy referred to the work in their eponymous song on the 1993 album Liberation. In 2019, the play will be shown at the Almeida Theatre in London, with Alan Williams playing Ivan Romanovic Chubutikin. The Three Sisters adaptations have been adapted into a full-length opera by Hungarian composer Péter Eötvös and Claus H. Henneberg, Tri séstry (Three Sisters). It premiered at the Lyon National Opera in 1998, directed by Amagatsu, and directed by Kent Nagano and the composer. In 2020, an adaptation of Inua Ellams' play, set in Owerri, Nigeria, took place at London's Lyttelton Theatre during the Nigerian Civil War between 1967 and 1970. Notes ^ The modern audience would have recognized this song, from 1892, as Chebutykin's ironic reference to the doomed affair between Masha and Vershinin - Rayfield, Donald (2005). Gottlieb, Vera (ed.). Cambridge's companion to Chekhov. London: Routledge. p. 210. ISBN 9780521589178. ^ According to N. Efrons Leonid Leonidov played Solyony. He took over this place indeed, but only after 1903, when he joined the Moscow Art Theatre. Coincidentally, Leonidov played Solyony during the 1900/1901 season too, but as part of the Odessa-based Solovtsov Troupe. - Leondov's biography at the Moscow Art Theatre. References ^ Harold Bloom (October 31, 2003). Genius (Reprint ed.). Great Central Edition. ISBN 978-0446691291. ^ Styan, John L. (1960). The Elements of Drama. Cambridge, England: Cambridge University Press. p. 209. ISBN 0-521-09201-9. ^ Three Sisters Act 4, translated by Julius West: NATASHA: Mihail Ivanitch Protopopov will sit down with little Sophie, and Andrei Sergeyevitch can get little Bobby out. ... [Stage direction] ANDREY wheels out the perambulator in which BOBBY sits. ^ Efros, Nikolai (2005). Gottlieb, Vera .т. / АНСССС. Ин-т мировой лит. им. А. М. Горького. — М.: Наука, 1974—1982. / Т. 13. Пьесы. 1895—1904. — М.: Наука, 1978. — С ل т. Солиненил: 18 ل олное собрание солиненил и и ссел: 30ا .елов Аل // (ed.). Anton Chekhov at the Moscow Art Theatre. London: Routledge. p. 15. ISBN 978-0-4153-4440-1. ^ Comments to three sisters (Russian) 117—188. ^ Allen, David (2000). He's executing Chekhov. London, United Kingdom: Routledge. Sna. ISBN 978-0-4151-8934-7. ^ Hingley, Ronald (1998). Five plays. Oxford, England: Oxford University Press. p. xix. ISBN 978-0-192-83412-6. ^ Paul Scofield's Acoustic Performances (Radio Drama, Audio Books, Spoken Word). Scofieldsperformances.com. Retrieved May 5, 2019. ^ Gottlieb, Vera. Select theatrical productions. Cambridge's companion to Chekhov. Cambridge, England: Cambridge University Press. p. 255. ISBN 978-0-521-58117-2. ^ [1] ^ Three Sisters by Anton Tchekhov, Adapted by Tracy Letts. Artists' Repertrio Theatre. Retrieved October 26, 2009. This adaptation of the Russian masterpiece was commissioned by Rep Artists as part of three of Tchekhov's four-part work. Letts gives us a new, new look at the decay of privileged order and the search for meaning in the modern world, through the eyes of three disgruntled sisters who have long been desperate for the precious past ^ Brantley, Ben (February 3, 2011). 'Three Sisters', Classical Stage Company - Review. Teh Teh The York Times. ^ Utopia Theatre Program (drama, games, spoken word). utopiatheaterproject.com. Retrieved February 27, 2020. ^ 1942 Game Review, time.com january 26, 2015. ^ Wolf, Matt (May 27, 1990). Theatre: Casting novel for 'Three Sisters'. The New York Times. Retrieved June 16, 2012. ^ Taylor, Paul (January 27, 2010). Three Sisters, Lyric, Hammersmith, London. The Independent. London. ^ Billington, Michael (November 10, 2003). Why are so many directors messing with the classics? Theguardian.com. Retrieved May 5, 2019. ^ Tlei surori camera jucause ale lui Afrim: ZIUA. www.ziua.ro. Retrieved May 5, 2019. ^ «Ghidusiile lui Afrim». Cultural Observatory. Retrieved May 5, 2019. ^ //agenda.liternet.ro/articol/18103/Miruna-Runcan/Polemica-esuind-in-nisip-II.html ^ Brennan, Clare (September 18, 2011). We are three sisters - review. The Guardian. London. ^ Stoltenberg, John (March 20, 2017). Review: 'No Sisters' at the Studio Theatre. Dcmetrotheaterarts.com. Retrieved July 2, 2017. ^ Three Sisters. Sydney Theatre Company. Retrieved March 30, 2018. External Wikisource links have original text related to this article: The Three Sisters Wikimedia Commons has media related to the Three Sisters. Three Sisters in the Internet Broadway Database Oxquarry Books, an English translation of Project Gutenberg's Three Sisters, English translations of several Tchekhov works, including the Three Sisters Full text of the Three Brothers (in Russian) The Three Sisters public domain audiobook in Lib sriVox Three Sisters from the Czech theatre Divatlo na Fidlovačce, Prague Retrieved from oldid=979464626

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