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The Cherry Orchard de Anton Chekhov

The Cherry Orchard

Autor Anton Chekhov
en Limba Engleză Paperback – 11 ian 1994
Pulitzer Prize-winning playwright David Mamet, in this unique adaptation of one of the great masterpieces of the theater, allows us to see Anton Chekhov's "The Cherry Orchard" in totally new and surprising ways. As Mamet explains in his introduction, he views the play "as a series of scenes about sexuality and, particularly, frustrated sexuality" rather than about a dying Russia. The result, said 'The Sentinel,' "blows a gust of fresh air into the old play" while the Chicago Sun-Times called it "audacious [and] consistently arresting." "Mamet the adaptor has turned Chekhov's Cherry Orchard into a Mamet play. Mamet's ear is famously impeccable, the dialogue is always authentic and convincing . . . . This is a tribute to its strong point of view and clear point of departure. If nothing else, it will help to undermine our silly critical notions of 'definitive' Chekhov. Mamet has made me rethink the play." - Robert Brustein, 'The New Republic'
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Specificații

ISBN-13: 9780802130020
ISBN-10: 080213002X
Pagini: 91
Dimensiuni: 139 x 210 x 8 mm
Greutate: 0.13 kg
Editura: Grove Atlantic

Notă biografică

Contributor Bio: Anton Pavlovich Chekhov
Chekhov was a playwright and master of the short story. He studied medicine at Moscow, and began to write while a student. His first book of stories in 1886 was successful, and gradually adopted writing as a profession.

Contributor Bio: David Mamet
Mamet is the Pulitzer Prize-Winning Author and Director of numerous Plays and Films.

Descriere

Chekov's great tragicomic eulogy for a passing way of life is superbly adapted to make a powerful and beautifully playable drama. Plays for Performance Series.

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.