契訶夫──「二十世紀的莎士比亞」──進入二十一世紀仍廣得新一代導演的青睞，每年必多次重新製作。現任巴黎「柯林國家劇院」總監之史特分．布隆胥韋曾執導《櫻桃園》（1992）、《海鷗》（2001）以及《三姊妹》（2007），三次演出均成功地超越搬演契劇之「『感傷─溫情─氣氛的』社交禮儀」公式而備受重視。布隆胥韋首先從舞臺設計著手，破除營造情感氛圍的表演魔咒，每齣戲僅構建基本的空間骨架，劇文的結構隱含於內，呼之欲出，演員從而跳脫心理寫實的老套。有機的抽象表演空間讓演員得於其中重寫劇文，意即創新表演的語彙，探索契劇對今日觀眾產生的新意。不論是向童年告別的《櫻桃園》，或在虛無中幻想小說般人生的《海鷗》，或跨入二十一世紀的《三姊妹》，布隆胥韋知性的舞臺調度鮮明有力，與劇本分庭抗禮，齊頭並進，在契劇搬演頻繁到幾乎令人疲乏的時代，使其展現了與時並進的生命力。

Tchekhov, “Shakespeare of the twentieth century,” still remains popular in the young generation of directors on the Continent in the new century; his dramas are still brought onto stage every year. French director Stéphane Braunschweig, the actual Administrator of National Theatre of Colline at Paris, has directed The Cherry Orchard （1992）, The Sea Gull （2001） and The Three Sisters （ 2007 ） , all of which have won him acclaim by transcending the “sentimental-compassionate-atmospheric protocol” of performing Tchekhov. To destroy the spellbound feeling of the famous Tchekovian ambiance, Braunschweig designs the stage himself by setting up a simple yet organic spatial construction, from which the structure of the play emerges. The abstract space gives the actors freedom to rewrite the play, i.e. to invent new acting vocabulary in order to explore new meanings for new audiences. The actors are thereby set free from falling in the ruts of psychological realism. No matter whether it's a farewell to childhood in The Cherry Orchard, or imagining a novellike life in the vide of the Sea Gull, or crossing into the twentieth-first century of The Three Sisters, Braunschweig's intellectual and powerful mises en scène compete with the plays at equal status, both going forward together. When too frequent staging of Tchekhov has almost become a fatigue, Braunschweig has made the master's works keep up with the time.