Had Pushkin lived to read
Chekhov's plays, he probably would have given a no less ambivalent assessment of their most positive characters than he gave of Chatsky, and
Chekhov may have agreed wholeheartedly.
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Chekhov voiced his sadness at the destruction of ancient hardwood forests in his short story, Rothschild's Fiddle (1894) and, more prominently, in his major plays.
Cathy Popkin broaches the relationship of medicine and literature in her study of 'A Nervous Breakdown' (Pripadok), still a promising approach, since most chekhovedy lack sufficient medical knowledge and few doctors have enough experience of textual criticism to get to the core of this conflicting relationship in
Chekhov.
At the end of this play's predecessor,
Chekhov had created a careful tableau of impractical dignity and comfort around the lovable, silly denizens of the Gayev estate.
Certain volumes, which were previously produced in Barry Callebaut's factory in Poland and exported to Russia, will now be transferred to the new facility in
Chekhov.
The composer chose, edited, and arranged passages from Olga Knipper-
Chekhov's 1924 essay about
Chekhov and from
Chekhov's own letters to his wife in the years 1899-1904 into a duocycle in which the singers never interact.
A ceremony reminiscent of final farewells in The Cherry Orchard was organized for
Chekhov on January 17, 1904, at the Moscow Art Theatre to celebrate his forty-fourth birthday and, more important, the twenty-fifth anniversary of his writing career.
And then my process is that I read Helen's translation and try to make it as accessible as possible to the audience of today, and as faithful as possible to
Chekhov.
Reflecting on
Chekhov, you find yourself using words like "sadness," and "longing," and "disappointment," and "love," and "kindness," and "hate"--you feel, inexorably, a sudden desire to talk not about literature, not about the conventions and strategies of fiction, but about life itself, as if
Chekhov had not so much invented his stories as discovered them in a field, or inside a broken bottle.
It has become a cliche in
Chekhov scholarship that
Chekhov is hard to adapt to the screen.
The same phrase can describe Brian Friel's adaptations of Three Sisters (1981) and Uncle Vanya (1998), the latter designated as "After
Chekhov.
