By Rose Whyman
Anton Chekhov deals a severe creation to the performs and productions of this canonical playwright, studying the genius of Chekhov's writing, theatrical illustration and dramatic philosophy. Emphasising Chekhov’s persisted relevance and his mastery of the tragicomic, Rose Whyman offers an insightful overview of his lifestyles and paintings. All of Chekhov’s significant dramas are analysed, as well as his vaudevilles, one-act performs and tales. The works are studied on the subject of conventional feedback and more moderen theoretical and cultural standpoints, together with cultural materialism, philosophy and gender reviews. research of key ancient and up to date productions, reveal the advance of the drama, in addition to the playwright’s persisted attraction. Anton Chekhov offers readers with an available comparative research of the connection among Chekhov's existence, paintings and ideological proposal.
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Additional info for Anton Chekhov (Routledge Modern and Contemporary Dramatists)
Everything passes, she says, even life, so nothing is necessary, except ‘knowing that you are free’. ’ I believe nothing passes without leaving a trace, and that the slightest step we take is of signiﬁcance in our present and future life. (Chekhov 2003: 361) The rings encapsulate the diﬀerence between Masha’s view of freedom as a hedonistic life in pursuit of artistic success and Misail’s view of personal responsibility, which means he lives a life of poverty. Similarly, diﬀerent points of view are juxtaposed in the plays.
Oﬀstage characters such as Nyukhin’s wife, or characters who have previously died, such as Popova’s husband in The Bear, exert an inﬂuence on the happenings on stage. The comic characters are consumed by trivia, have an inﬂated self-image and go to extremes to impose this view on others. They are prone to swift changes of attitude if they see it is in their own self-interest. Chekhov gives comic characteristics to archetypes: the widow Popova’s grief is a pose, the would-be bridegroom Lomov is a hypochondriac rather than a dashing suitor.
Writers such as Henrik Ibsen, August Strindberg and 36 Life and context Gerhart Hauptmann were also linked with naturalism. The major plays of these writers, like Chekhov’s, also display, in diﬀerent ways, elements of symbolism. Their works were not performed in Russia initially when they were written in the latter part of the nineteenth century, but Chekhov read and drew from them. The new plays aimed to convey life’s complexity. They were characterized by: an atmosphere of general unease … not just social forms and institutions, but the basis of society, the family and the formerly peaceful worlds of work and everyday life (byt), where everything is upside down, in ferment, undeﬁned … (Shakh-Azizova 1966: 30) The playwrights examined traditional and conventional values, aimed to expose cruelty in human relationships and to raise questions of social responsibility.
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