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This is the first book to consider the whole subject of Chekhov's impact on the British stage. Recently Chekhov's plays have come to occupy a place in the British classical repertoire second only to Shakespeare. The British, American and Russian authors of these essays examine this phenomenon both historically and synchronically. First they discuss why Chekhov's plays were so slow to find an audience in Britain, what the early productions were really like, and how Bernard Shaw, Peggy Ashcroft, the Moscow Art Theatre and politics influenced the British style of Chekhov. They then address the often controversial issues of directing, acting, designing and translating Chekhov in Britain today. The volume concludes with a selective chronology of British productions of Chekhov's plays and will be of interest to students and scholars of the theatre, as well as theatre-goers, theatre-practitioners and Russianists.
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.
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.
The use of film and video is widespread in contemporary theatre. Staging the Screen explores a variety of productions, ranging from Piscator to Forced Entertainment, charting the impact of developing technologies on practices in dramaturgy and performance. Giesekam addresses critical issues raised by multi-media work and inter-media work
Acting Exercises for Non-Traditional Staging: Michael Chekhov Reimagined offers a new set of exercises for coaching actors when working on productions that are non-traditionally staged in arenas, thrusts, or alleys. All of the exercises are adapted from Michael Chekhov's acting technique, but are reimagined in new and creative ways that offer innovative twists for the practitioner familiar with Chekhov, and easy accessibility for the practitioner new to Chekhov. Exploring the methodology through a modern day lens, these exercises are energizing additions to the classroom and essential tools for more a vibrant rehearsal and performance.
Many now consider Chekhov a playwright equal to Shakespeare. Senelick studies how his reputation evolved, and how the presentation of his plays varied and altered from their initial productions in Russia to recent postmodern deconstructions.
This book considers the hundred years of re-writes of Anton Chekhov's work, presenting a wide geographical landscape of Chekhovian influences in drama. The volume examines the elusive quality of Chekhov's dramatic universe as an intricate mechanism, an engine in which his enigmatic characters exist as the dramatic and psychological ciphers we have been de-coding for a century, and continue to do so. Examining the practice and the theory of dramatic adaptation both as intermedial transformation (from page to stage) and as intramedial mutation, from page to page, the book presents adaptation as the emerging genre of drama, theatre, and film. This trend marks the performative and social practices of the new millennium, highlighting our epoch's need to engage with the history of dramatic forms and their evolution. The collection demonstrates that adaptation as the practice of transformation and as a re-thinking of habitual dramatic norms and genre definitions leads to the rejuvenation of existing dramatic and performative standards, pioneering the creation of new traditions and expectations. As the major mode of the storytelling imagination, adaptation can build upon and drive the audience's horizons of expectations in theatre aesthetics. Hence, this volume investigates the original and transformative knowledge that the story of Chekhov's drama in mutations offers to scholars of drama and performance, to students of modern literatures and cultures, and to theatre practitioners worldwide.
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.