Anton Chekhov by Rose Whyman

By Rose Whyman

Anton Chekhov deals a serious advent to the performs and productions of this canonical playwright, analyzing the genius of Chekhov's writing, theatrical illustration and dramatic philosophy. Emphasising Chekhov’s persisted relevance and his mastery of the tragicomic, Rose Whyman presents an insightful overview of his existence and paintings. All of Chekhov’s significant dramas are analysed, as well as his vaudevilles, one-act performs and tales. The works are studied relating to conventional feedback and more moderen theoretical and cultural standpoints, together with cultural materialism, philosophy and gender reports. research of key ancient and up to date productions, exhibit the improvement of the drama, in addition to the playwright’s persisted charm. Anton Chekhov offers readers with an available comparative research of the connection among Chekhov's lifestyles, paintings and ideological proposal.

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Example text

Griboyedov and Nikolai Gogol in the early part of the nineteenth century, and later that of the major writer of histories, dramas and comedies, Alexander Ostrovsky, the less well-known M. Y. Saltykov-Shchedrin and A. V. Sukhovo-Kobylin. Some of the work of these writers was not actually performed during their lifetimes, because of censorship. As Chekhov’s work as a playwright was beginning to become known towards the end of the 1880s, the main repertoire continued to be the classics, comedies and melodrama but there was growing recognition of the need for theatrical reform.

The writing showed significant development, and a collection Motley Tales was published in 1886, but not the development of a ‘moral position’, as Grigorevich envisaged. Rather, the development was stylistic and in terms of content; Dreams was widely acclaimed and On the Road (1886) demonstrated how Chekhov had begun to engage more deeply with the zeitgeist in his work. The character Likharev confesses to a young woman that first he believed in scientism. He was a slave to it, studying day and night, but found that science ‘has a beginning but no end, just like a recurring decimal’ (Chekhov 1976a 5: 470).

I write: if you are dealing with horse thieves, then you should know they are not beggars but well-fed people, that they belong to a cult and that horse-stealing with them is not just theft but a passion. Of course it would be pleasant to combine art with preaching, but for me personally this is extremely difficult, and almost impossible because of technical considerations. In order to depict horse thieves in seven hundred lines, I must all the time think and speak as they would, and experience their feelings, otherwise, if I add a note of subjectivity, the characters will dissipate and the story will not be as compact as all short stories ought to be.

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