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Fifteen tales from Russia's mysterious capital city provide an absorbing and many-sided portrait in fiction for readers who love travelling, armchair travellers, lovers of Russian literature, as well as those who love Moscow.
"Love and Other Stories" is a collection of brief stories written by way of Anton Pavlovich Chekhov, one of the most celebrated Russian writers of the past due nineteenth and early 20th centuries. The stories show off Chekhov's mastery of the fast tale form and his eager perception into the human circumstance. The series encompasses quite a number topic, delving into the complexities of love, relationships, and the everyday lives of regular human beings. Chekhov's tales are characterized via a profound know-how of human nature, capturing moments of joy, sorrow, and introspection with superb sensitivity. In "Love and Other Stories," Chekhov explores the nuances of romantic relationships, regularly highlighting the subtleties and intricacies of human feelings. The character's grapple with the challenges of affection, navigating the delicate balance between ardour and practicality. Chekhov's narrative style is marked by using a mix of realism and irony, reflecting the social and cultural milieu of past due 19th-century Russia. The tales are poignant and thought-provoking, providing readers a glimpse into the complexities of the human psyche. "Love and Other Stories" stands as a undying collection that maintains to resonate with readers, showcasing Chekhov's potential to seize the depth of human experience in concise and evocative narratives. The tales continue to be a testament to Chekhov's enduring legacy as a grasp storyteller.
The author's contention is that Chekhov's plays have often been misinterpreted by scholars and directors, particularly through their failure to adequately balance the comic and tragic elements inherent in these works. Through a close examination of the form and content of Chekhov's dramas, the author shows how deeply pessimistic or overly optimistic interpretations fail to sufficiently account for the rich complexity and ambiguity of these plays. The author suggests that, by accepting that Chekhov's plays are synthetic tragi-comedies which juxtapose potentially tragic sub-texts with essentially comic texts, critics and directors are more likely to produce richer and more deeply satisfying interpretations of these works. Besides being of general interest to any reader interested in understanding Chekhov's work, the book is intended to be of particular interest to students of Drama and Theatre Studies and to potential directors of these subtle plays.
Anton Pavlovich Chekhov (1860–1904) overturned the dramatic conventions of his day and laid the groundwork for contemporary approaches to directing and acting. Now, for the first time, the full lyricism, humor, and pathos of his greatest plays are available to an English-speaking audience. Marina Brodskaya's new translations of Ivanov, The Seagull, Uncle Vanya, Three Sisters, and The Cherry Orchard not only surpass in accuracy all previous translations, but also provide the first complete English text of the plays, restoring passages entirely omitted by her predecessors. This much-needed volume renders Chekhov in language that will move readers and theater audiences alike, making accessible his wordplay, unstated implications, and innovations. His characters' vulnerabilities, needs, and neuroses—their humanity—emerge through their genuine, self-absorbed conversations. The plays come to life as never before and will surprise readers with their vivacity, originality, and relevance.
Young Chekhov contains a trilogy of plays by the Russian writer Anton Chekhov, written as he emerged as the greatest playwright of the late nineteenth century. The three works, Platanov, Ivanov and The Seagull, in contemporary adaptations by David Hare, will be staged at the Chichester Festival Theatre in the summer of 2015.