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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.
The Undiscovered Chekhov gives us, in rich abundance, a new Chekhov. Peter Constantine's historic collection presents 38 new stories and with them a fresh interpretation of the Russian master. In contrast to the brooding representative of a dying century we have seen over and over, here is Chekhov's work from the 1880s, when Chekhov was in his twenties and his writing was sharp, witty and innovative. Many of the stories in The Undiscovered Chekhov reveal Chekhov as a keen modernist. Emphasizing impressions and the juxtaposition of incongruent elements, instead of the straight narrative his readers were used to, these stories upturned many of the assumptions of storytelling of the period. Here is "Sarah Bernhardt Comes to Town," written as a series of telegrams, beginning with "Have been drinking to Sarah's health all week! Enchanting! She actually dies standing up!..." In "Confession...," a thirty-nine year old bachelor recounts some of the fifteen times chance foiled his marriage plans. In "How I Came to be Lawfully Wed," a couple reminisces about the day they vowed to resist their parents' plans that they should marry. And in the more familiarly Chekhovian "Autumn," an alcoholic landowner fallen low and a peasant from his village meet far from home in a sad and haunting reunion in which the action of the story is far less important than the powerful impression it leaves with the reader that each man must live his life and has his reasons.
Seven years after the death of Anton Chekhov, his sister, Maria, wrote to a friend, "You asked for someone who could write a biography of my deceased brother. If you recall, I recommended Iv. Al. Bunin . . . . No one writes better than he; he knew and understood my deceased brother very well; he can go about the endeavor objectively. . . . I repeat, I would very much like this biography to correspond to reality and that it be written by I.A. Bunin." In About Chekhov Ivan Bunin sought to free the writer from limiting political, social, and aesthetic assessments of his life and work, and to present both in a more genuine, insightful, and personal way. Editor and translator Thomas Gaiton Marullo subtitles About Chekhov "The Unfinished Symphony," because although Bunin did not complete the work before his death in 1953, he nonetheless fashioned his memoir as a moving orchestral work on the writers' existence and art. . . . "Even in its unfinished state, About Chekhov stands not only as a stirring testament of one writer's respect and affection for another, but also as a living memorial to two highly creative artists." Bunin draws on his intimate knowledge of Chekhov to depict the writer at work, in love, and in relation with such writers as Tolstoy and Gorky. Through anecdotes and observations, spirited exchanges and reflections, this memoir draws a unique portrait that plumbs the depths and complexities of two of Russia's greatest writers.
Chekhov's reputation as a founder of modern drama rests on the four plays in this volume. So revolutionary were these plays in their simplicity and naturalness of form, subject, and dialogue, that to produce them required a new school of acting, and a new Russian theatre. Immediately popular in Russia, Chekhov's plays soon were produced all over Europe. So purelyoriginal that they could not be imitated, these plays, with Isben's, laid to test the outmoded forms of European theatre, opening it to innovation in all areas. Today they are as popular as ever. -- From publisher's description.
Maxim Gorky said that no one understood -- the tragedy of life's trivialities -- as clearly as Anton Chekhov, widely considered the father of the modern short story and the modern play. Chekhov's singular ability to speak volumes with a single, impeccably chosen word, mesh comedy and pathos, and capture life's basic sadness as he entertains us, are why so many aspire to emulate him. How to Write Like Chekhov meticulously cherry-picks from Chekhov's plays, stories, and letters to his publisher, brother, and friends, offering suggestions and observations on subjects including plot and characters (and their names), descriptions and dialogue, and what to emphasize and avoid. This is a uniquely clear roadmap to Chekhov's intelligence and artistic expertise and an essential addition to the writing-guide shelf.
In Reading Chekhov Janet Malcolm takes on three roles: literary critic, biographer and journalist. Her close readings of Chekhov's stories and plays are interwoven with episodes from his life and framed by an account of a recent journey she made to St Petersburg. Malcolm demonstrates how the shadow of death that hovered over most of Chekhov's literary career - he became consumptive in his twenties and died in his forties - is almost everywhere reflected in the work. She writes of his childhood, his relationship with his family, his marriage, his travels, his early success, his exile to Yalta - always with an eye to connecting them to his themes and characters.
This revelatory documentary biography of Anton Chekhov (1860-1904), one of the world's best playwrights, collects more than 100 written recollections of Chekhov's close friends, family and colleague writers and artists, such as Ivan Bunin, Konstantin Stanislavsky and Maxim Gorky. Drawn from rare periodicals and obscure archival sources from the 1880s to the 1930s, these accounts, few of which have ever before been translated to English, address his affairs with female admirers, his passions and hobbies, his visits to shelters for the homeless, his support of aspiring writers, as well as his advice to theater directors, actors and writers. A complement to the wealth of scholarly material on Chekhov, this work offers new discoveries for both specialists and general enthusiasts.
From the celebrated, award-winning translators of Anna Karenina and War and Peace a lavish, masterfully rendered volume of stories by one of the most influential short fiction writers of all time. Chekhov's genius left an indelible impact on every literary form in which he wrote, but none more so than short fiction. Now, renowned translators and longtime house authors Richard Pevear and Larissa Volokhonsky give us their peerless renderings of fifty-two Chekhov stories--a full deck These stories, which span the full arc of his career, reveal the extraordinary variety and unexpectedness of his work, from the farcically comic to the darkly complex, showing that there is no one type of "Chekhov story." They are populated by a remarkable range of characters who come from all parts of Russia, all walks of life, and who, taken together, have democratized the short story. Included here are a number of never-before-translated stories, including "Reading" and "An Educated Blockhead." Here is a collection that promises profound delight.
Anton Chekhov's representations of children have generally remained on the periphery of scholarly attention. Yet his stories about children, which focus on communication and the emergence of personhood, also illuminate the process by which the author forged his own language of expression and occupy a uniquely important place within his work. Chekhov's Children explores these stories – dating from Chekhov's early writings in the 1880s – as a distinct body of work unified by the theme of maturation and by the creation of a literary model of childhood. Nadya Peterson describes the evolution of Chekhov's model and its connection with the prevalent views on children in the literature, education, medicine, and psychology of his time. As with his later writing, Chekhov's portrayals of young protagonists exhibit complexity, diversity, and a broad reach across the writer's cultural and literary landscape, dealing with such themes as the distinctiveness of a child's perspective, the relationship between the worlds of children and adults, the nature of child development, socialization, gender differences, and sexuality. While reconstructing a particular literary model of childhood, this book brings to light a body of discourse on children, childhood development, and education prominent in Russia in the late nineteenth century. Chekhov's Children accords this topic the significance it deserves by placing Chekhov's model of childhood within the broad context of his time and reassessing established notions about the child's place in the author's oeuvre.
This volume of specially commissioned essays explores the world of Anton Chekhov - one of the most important dramatists in the repertoire - and the creation, performance and interpretation of his works. The Companion, first published in 2000, begins with an examination of Chekhov's life, his Russia, and the original productions of his plays at the Moscow Art Theatre. Later film versions and adaptations of Chekhov's works are analysed, with valuable insights also offered on acting Chekhov, by Ian McKellen, and directing Chekhov, by Trevor Nunn and Leonid Heifetz. The volume also provides essays on 'special topics' such as Chekhov as writer, Chekhov and women, and the Chekhov comedies and stories. Key plays, such as The Cherry Orchard and The Seagull, receive dedicated chapters while lesser-known works and genres are also brought to light. The volume concludes with appendices of primary sources, lists of works, and a select bibliography.