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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.
Though now associated mainly with Sophocles' Theban Plays and Euripides' Bacchae, the theme of Thebes and its royalty was a favorite of ancient Greek poets, one explored in a now lost epic cycle, as well as several other surviving tragedies. With a rich Introduction that sets three of these plays within the larger contexts of Theban legend and of Greek tragedy in performance, Cecelia Eaton Luschnig’s annotated translation of Aeschylus' Seven Against Thebes, Euripides' Suppliants, and Euripides' Phoenician Women offers a brilliant constellation of less familiar Theban plays—those dealing with the war between Oedipus’ sons, its casualties, and survivors.
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.
Sukhovo-Kobylin's "Trilogy - Krechinshy's Wedding, The Case"and "The Death of Tarelkin" represent the sole literary legacy of their aristocratic author whose involvement in a sensational murder case became one of the great scandals of mid-19th century Russian society. Out of the drama of his own life, Sukhovo-Kobylin fashioned a trilogy of plays remarkable for the acidity of their satire against the tsarist bureaucracy and police. It is not only for their pungent satire that the plays have continued to attract attention ever since. They are, above all, splendidly theatrical and encompass not one but several different traditions of theatre from the "well-made play" of Scribe to the absurd comedy of Gogol. "As for sheer stagecraft," writes Price D.S. Mirsky in his "A History of Russian Literature," "they have no rivals in Russian literary drama." Harold B. Segel is Professor of Slavic and Comparative Literature at Columbia University, New York. He is the author of ten books and numer
The trilogy Funeral Drums for Lambs and Wolves includes Isabel Banished in Isabel, the monologue of a woman left to go mad alone; Without Apparent Motive, the monologue of a murderer lamenting the spread of violence; and The Guest, or Tranquility Is Priceless, a confrontational dialogue that speaks directly to the spectators, implicating them for their silent, passive tolerance of Pinochet. The title play, Radrigan's 1981 masterpiece, speaks directly to the specter of the disappeared."--Jacket.