The Cherry Orchard: Oberon Modern Playwrights
Autor Anton Chekhov Adaptat de Peter Gillen Limba Engleză Paperback – aug 2016
First performed at the Moscow Art Theatre in 1904, directed by Konstantin Stanislavski, The Cherry Orchard remains a classic of the theatre. Completed less than a year before his death at the age of forty-four, Chekhov's last 'comedy' still ranks supreme as a human tragedy of dispossession with audiences and actors alike.
Peter Gill's luminous version brings the psychological realism of Chekhov's characters into sharp focus; fragile souls poised on the brink of happiness which never comes, or trapped in a void between the old world and the new.
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Specificații
ISBN-13: 9781783190423
ISBN-10: 1783190426
Pagini: 80
Dimensiuni: 130 x 210 x 8 mm
Greutate: 0.09 kg
Editura: Bloomsbury Publishing
Colecția Oberon Books
Seria Oberon Modern Playwrights
Locul publicării:London, United Kingdom
ISBN-10: 1783190426
Pagini: 80
Dimensiuni: 130 x 210 x 8 mm
Greutate: 0.09 kg
Editura: Bloomsbury Publishing
Colecția Oberon Books
Seria Oberon Modern Playwrights
Locul publicării:London, United Kingdom
Recenzii
Now Chekhov's final and finest play, from 1903, is the latest twentieth-century masterpiece to get a good going-over. Actually, make that an excellent going-over . . . It's been pruned, yes, but this grimly witty tragicomedy is unmistakably Chekhov . . . and it teems with life.
Stephens [has] refocussed Chekhov's play into a potent study in feminine - rather than societal - collapse.
Chekhov was superb on the destructive impact of people who take no heed: who turn other people's lives upside down (Uncle Vanya) or blithely ignore warnings (Cherry Orchard). He was superb too on those who can see the dangers, but are powerless to do anything. Little wonder then, that these great plays feel so painfully pertinent now to audiences keenly aware of intractable global problems. Little wonder either that contemporary theatre-makers seek to meet his works in the spirit of innovation.
If Chekhov were planning a revenant visit to see how his work fares in England in the 21 century, this would be an opportune moment to come.
Revivals of classic plays are the lifeblood of theatre. They are the way in which the art form tests the reputation, relevance and validity of the masterpieces of the past.
Stephens [has] refocussed Chekhov's play into a potent study in feminine - rather than societal - collapse.
Chekhov was superb on the destructive impact of people who take no heed: who turn other people's lives upside down (Uncle Vanya) or blithely ignore warnings (Cherry Orchard). He was superb too on those who can see the dangers, but are powerless to do anything. Little wonder then, that these great plays feel so painfully pertinent now to audiences keenly aware of intractable global problems. Little wonder either that contemporary theatre-makers seek to meet his works in the spirit of innovation.
If Chekhov were planning a revenant visit to see how his work fares in England in the 21 century, this would be an opportune moment to come.
Revivals of classic plays are the lifeblood of theatre. They are the way in which the art form tests the reputation, relevance and validity of the masterpieces of the past.
Notă biografică
Anton Pavlovich Chekhov (1860 - 1904) was a Russian playwright and short story writer, who is considered to be among the greatest writers of short fiction in history. His career as a playwright produced four classics and his best short stories are held in high esteem by writers and critics. Along with Henrik Ibsen and August Strindberg, Chekhov is often referred to as one of the three seminal figures in the birth of early modernism in the theater. Chekhov practiced as a medical doctor throughout most of his literary career: "Medicine is my lawful wife", he once said, "and literature is my mistress."