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While the influence of Chekhov in modern theater worldwide, and especially in America, has been immense, translations into English have tended to be too literary and have not communicated the full emotional power and precise attention to detail of Chekhov's Russian. Milton Ehre began translating Chekhov's plays to provide professional theaters with performance texts that capture the feel and rhythms of spoken, rather than written, language. Chekhov for the Stage is the first publication of his revised versions of The Three Sisters, Uncle Vanya, The Cherry Orchard, and The Sea Gull. Ehre's sensitive renderings of these classics make this volume the translation of choice for performers and directors, teachers, and the general reading public.
Curt Columbus endows these timeless dramas Seagull, Uncle Vanya, Three Sisters and Cherry Orchard with dialogue that is faithful to the russian original but dazzlingly attuned to contemporary audiences.
Stephen Karam is known for his dedication to exploring the idiosyncrasies of human speech and behavior -- the subtleties, the depth, and the awkward minutia. With this new adaptation of Chekhov’s canonical masterpiece about a family on the brink of bankruptcy, Karam's fluid style finds a harmonious fit with the work of the master playwright.
The Cherry Orchard was written by Chekhov as a comedy, but directed by Stanislavski as a tragedy on its premier. The play has maintained the dual nature of these intentions ever since. An aristocratic family return to their estate on the eve of auction. Though alternatives present themselves, the family is apathetic and their property is sold. The play addresses the vast changes to the Russian social casts at the time, and the general cultural futility experienced by the aristocracy and bourgeoisie in their shifting roles.
Eminent critic Richard Gilman examines each of Chekhov's full-length plays, showing how they relate to each other, to Chekhov's short stories, and to his life. Gilman places the plays in the context of Russian and European drama and the larger culture of the period, and the reasons behind the enduring power of these classic works.
Pulitzer Prize-winning playwright David Mamet, in this unique adaptation of one of the great masterpieces of the theater, allows us to see Anton Chekhov's "The Cherry Orchard" in totally new and surprising ways. As Mamet explains in his introduction, he views the play "as a series of scenes about sexuality and, particularly, frustrated sexuality" rather than about a dying Russia. The result, said 'The Sentinel,' "blows a gust of fresh air into the old play" while the Chicago Sun-Times called it "audacious [and] consistently arresting." "Mamet the adaptor has turned Chekhov's Cherry Orchard into a Mamet play. Mamet's ear is famously impeccable, the dialogue is always authentic and convincing . . . . This is a tribute to its strong point of view and clear point of departure. If nothing else, it will help to undermine our silly critical notions of 'definitive' Chekhov. Mamet has made me rethink the play." - Robert Brustein, 'The New Republic'
Chekhov assigned a personal way of speaking to each character, divorcing consequence from action, cause from effect. Despite the controversy generated by its paradoxical nature, however, The Cherry Orchard has become a milestone in twentieth-century drama.
The play focuses on the lives of three sisters, Olga, Masha, and Irina, young women of the Russian gentry who try to fill their days in order to construct a life that feels meaningful while surrounded by an array of military men, servants, husbands, suitors, and lovers, all of whom constitute a distractions from the passage of time and from the sisters' desire to return to their beloved Moscow.
Four teenagers grow inseparable in the last days of the Soviet Union—but not all of them will live to see the new world arrive in this powerful debut novel, loosely based on Anton Chekhov’s The Cherry Orchard. “Spectacular . . . intensely evocative and gorgeously written . . . will fill readers’ eyes with tears and wonder.”—Minneapolis Star Tribune ONE OF THE BEST BOOKS OF THE YEAR: New York Post Coming of age in the USSR in the 1980s, best friends Anya and Milka try to envision a free and joyful future for themselves. They spend their summers at Anya’s dacha just outside of Moscow, lazing in the apple orchard, listening to Queen songs, and fantasizing about trips abroad and the lives of American teenagers. Meanwhile, Anya’s parents talk about World War II, the Blockade, and the hardships they have endured. By the time Anya and Milka are fifteen, the Soviet Empire is on the verge of collapse. They pair up with classmates Trifonov and Lopatin, and the four friends share secrets and desires, argue about history and politics, and discuss forbidden books. But the world is changing, and the fleeting time they have together is cut short by a sudden tragedy. Years later, Anya returns to Russia from America, where she has chosen a different kind of life, far from her family and childhood friends. When she meets Lopatin again, he is a smug businessman who wants to buy her parents’ dacha and cut down the apple orchard. Haunted by the ghosts of her youth, Anya comes to the stark realization that memory does not fade or disappear; rather, it moves us across time, connecting our past to our future, joys to sorrows. Inspired by Anton Chekhov’s The Cherry Orchard, Kristina Gorcheva-Newberry’s The Orchard powerfully captures the lives of four Soviet teenagers who are about to lose their country and one another, and who struggle to survive, to save their friendship, to recover all that has been lost.