The Cherry Orchard
Autor Anton Chekhov Traducere de Tom Stopparden Limba Engleză Paperback – 6 ian 2009
Anton Chekhov was a master whose daring work revolutionized theatre. Robert Burstein declared that “there are none who bring the drama to a higher realization of its human role.” In The Cherry Orchard, his last full-length play, an impoverished landowning family is unable to face the fact that their estate is about to be auctioned off. Lopakhin, a local merchant, presents numerous options to save it, including cutting down their prized cherry orchard. But the family is stricken with denial. The Cherry Orchard charts the precipitous descent of a wealthy family and in the process creates a bold meditation on social change and bourgeois materialism.
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Specificații
ISBN-13: 9780802144096
ISBN-10: 0802144098
Pagini: 128
Dimensiuni: 145 x 208 x 5 mm
Greutate: 0.1 kg
Editura: Grove Atlantic
ISBN-10: 0802144098
Pagini: 128
Dimensiuni: 145 x 208 x 5 mm
Greutate: 0.1 kg
Editura: Grove Atlantic
Notă biografică
Tom Stoppard’s plays include Rosencrantz & Guildenstern Are Dead, Jumpers, Travesties, The Real Thing, Hapgood, Arcadia, The Invention of Love, The Coast of Utopia, and Rock ’n’ Roll. In addition to The Cherry Orchard, Stoppard has adapted Chekhov’s The Seagull and Ivanov.
Descriere
Descriere de la o altă ediție sau format:
The orchard's white, all white. You haven't forgotten, have you, Lyuba? The avenue lined with trees, unfurling like a slender ribbon. And on moonlit nights, it shimmers. You remember, don't you? You haven't forgotten?
Can anyone persuade Ranevskaya and her aristocratic household that the world is changing, and they must too?
Following internationally acclaimed productions of The Seagull (Belvoir St Theatre, Sydney) and Three Sisters (Young Vic, London), director Benedict Andrews has a reputation as one of the world's leading interpreters of Chekhov.
For the Donmar Warehouse he stages the great writer's final play. It's a work that predicted and captured the end of an era, but is timeless in its humanity, prescience, humour and pathos. The Cherry Orchard is Chekhov's masterpiece.
This edition was published to coincide with its world premiere at London's Donmar Warehouse in April 2024.
The orchard's white, all white. You haven't forgotten, have you, Lyuba? The avenue lined with trees, unfurling like a slender ribbon. And on moonlit nights, it shimmers. You remember, don't you? You haven't forgotten?
Can anyone persuade Ranevskaya and her aristocratic household that the world is changing, and they must too?
Following internationally acclaimed productions of The Seagull (Belvoir St Theatre, Sydney) and Three Sisters (Young Vic, London), director Benedict Andrews has a reputation as one of the world's leading interpreters of Chekhov.
For the Donmar Warehouse he stages the great writer's final play. It's a work that predicted and captured the end of an era, but is timeless in its humanity, prescience, humour and pathos. The Cherry Orchard is Chekhov's masterpiece.
This edition was published to coincide with its world premiere at London's Donmar Warehouse in April 2024.
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.