Three Sisters: NHB Classic Plays
Autor Anton Chekhoven Limba Engleză Paperback – 11 apr 2019
The clock strikes. A candle is lit. The clock stops. Something catches fire. The clock strikes. They wake up.
Cordelia Lynn's version of Chekhov's Three Sisters, from a literal translation by Helen Rappaport, was first performed at the Almeida Theatre, London, in April 2019, in a production directed by Rebecca Frecknall.
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Specificații
ISBN-13: 9781848428607
ISBN-10: 184842860X
Pagini: 96
Dimensiuni: 128 x 199 x 10 mm
Greutate: 0.11 kg
Editura: NICK HERN BOOKS
Colecția NHB Classic Plays
Seria NHB Classic Plays
ISBN-10: 184842860X
Pagini: 96
Dimensiuni: 128 x 199 x 10 mm
Greutate: 0.11 kg
Editura: NICK HERN BOOKS
Colecția NHB Classic Plays
Seria NHB Classic Plays
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Notă biografică
Anton Chekhov (1860-1904), a physician by training, is now considered the most notable 20th-century Russian dramatist. His major plays, all staged by Stanislavsky at the Moscow Art Theatre, helped establish psychological realism in European theatre.
Cordelia Lynn is a playwright whose plays include: a version of Chekhov's Three Sisters (Almeida Theatre, London, 2019); Lela & Co. (Royal Court Theatre, London, 2015); Believers Anonymous (Rosemary Branch Theatre, 2012); and After the War, which has been performed in venues around the UK and abroad. She was the recipient of the 2017 Pinter Commission for a new play at the Royal Court Theatre.
Cordelia Lynn is a playwright whose plays include: a version of Chekhov's Three Sisters (Almeida Theatre, London, 2019); Lela & Co. (Royal Court Theatre, London, 2015); Believers Anonymous (Rosemary Branch Theatre, 2012); and After the War, which has been performed in venues around the UK and abroad. She was the recipient of the 2017 Pinter Commission for a new play at the Royal Court Theatre.
Descriere
n a room in a house in a provincial town, three sisters wait for their lives to begin. Olga, the eldest. Masha, the middle child. Irina, the youngest. The clock strikes. A candle is lit. The clock stops. Something catches fire. The clock strikes. They wake up. Anton Chekhov's great play in a new adaptation by Cordelia Lynn for the Almeida Theatre.
Cuprins
Introduction
Timeline
Inua Ellams
Social and Political Context
The Berlin Conference (1884-1885)
Indirect Rule/Administration
The Formation of Nigeria
The Nigeria Civil War/Biafra War
Ethnicity
Anton Chekhov
Adaptations
Post-colonialism/post-colonial theatre/neo-colonialism
Commentary
Structure/Time
Fate and Duty
Tradition vs Modernity
Symbolism
Main Characters
Critical Reception
Glossary
Selected texts on the Biafran War
Texts Cited
Three Sisters: After Chekhov
Notes
Timeline
Inua Ellams
Social and Political Context
The Berlin Conference (1884-1885)
Indirect Rule/Administration
The Formation of Nigeria
The Nigeria Civil War/Biafra War
Ethnicity
Anton Chekhov
Adaptations
Post-colonialism/post-colonial theatre/neo-colonialism
Commentary
Structure/Time
Fate and Duty
Tradition vs Modernity
Symbolism
Main Characters
Critical Reception
Glossary
Selected texts on the Biafran War
Texts Cited
Three Sisters: After Chekhov
Notes
Recenzii
A punky, funny, furious takedown of the cult of the classic... the piece never denies that Chekhov still speaks to us, it also questions its existence... loud, rude, provocative and, yes, messy - that's all part of its glorious defiance. Don't go expecting the pretty, predictable or polite. But do go. ????
A gloriously playful evening, stuffed with musical richness. If you know the original you will note how the company both honour its structure and smash it... it understands that each generation must take what they need from a play and that it must speak not to the past but to the millions of Olgas, Irinas and Mashas of today. Otherwise, why bother? ????
Less a take on the play than a music and movement-fuelled examination of why plays like this continue to be staged... some of the basic features of Chekhov's play remain, but RashDash push at its edges and mess with its mechanics... RashDash incisively skewers the privileged ennui of Chekhov's characters and the limited horizons the playwright imagined for his female protagonists. If the classics aren't for everyone, RashDash ask, then what are they for? ????
'Funny, furious - loud, rude, provocative and messy.'
A gloriously playful evening, stuffed with musical richness. If you know the original you will note how the company both honour its structure and smash it... it understands that each generation must take what they need from a play and that it must speak not to the past but to the millions of Olgas, Irinas and Mashas of today. Otherwise, why bother? ????
Less a take on the play than a music and movement-fuelled examination of why plays like this continue to be staged... some of the basic features of Chekhov's play remain, but RashDash push at its edges and mess with its mechanics... RashDash incisively skewers the privileged ennui of Chekhov's characters and the limited horizons the playwright imagined for his female protagonists. If the classics aren't for everyone, RashDash ask, then what are they for? ????
'Funny, furious - loud, rude, provocative and messy.'