Three Sisters: Mint Editions
Autor Anton Chekhoven Limba Engleză Paperback – dec 2020
"Zestier and more colloquial than most translations . . . Letts' main achievement here is to make Chekhov more emotional, accessible and active."—Chicago Tribune
"I've seen over a dozen Three Sisters, but never has the final scene . . . registered so hard. It's the cumulative effect of . . . searing truth-telling—from Letts, who knows family dysfunction as only the author of August: Osage County can, and Chekhov, the good doctor who diagnoses all our weaknesses that are so strong."—Chicago Theater Beat
When the champion of modern family drama takes on the genre's patriarch, the result is an energetic and vitalizing adaptation of one of Anton Chekhov's most beloved plays. A cruder, gruffer outline of the plight of the wistful Prozorov sisters serves to emphasize the anguish of their Chekhovian stagnation. This latest work from Letts envisions the revered classic through a fresh lens that revives the passionate characters and redoubles the tragic effect of their stunted dreams.
Tracy Letts was awarded the 2008 Pulitzer Prize for Drama and Tony Award for Best Play for August: Osage County. His other plays include Superior Donars; Pulitzer Prize-finalist Man from Nebraska; Killer Joe, which was adapted into a critically acclaimed film; and Bug, which has played in New York, Chicago and London and was adapted into a film. Letts garnered a Tony Award for his performance in the Broadway revival of Who's Afraid of Virginia Woolf?
"I've seen over a dozen Three Sisters, but never has the final scene . . . registered so hard. It's the cumulative effect of . . . searing truth-telling—from Letts, who knows family dysfunction as only the author of August: Osage County can, and Chekhov, the good doctor who diagnoses all our weaknesses that are so strong."—Chicago Theater Beat
When the champion of modern family drama takes on the genre's patriarch, the result is an energetic and vitalizing adaptation of one of Anton Chekhov's most beloved plays. A cruder, gruffer outline of the plight of the wistful Prozorov sisters serves to emphasize the anguish of their Chekhovian stagnation. This latest work from Letts envisions the revered classic through a fresh lens that revives the passionate characters and redoubles the tragic effect of their stunted dreams.
Tracy Letts was awarded the 2008 Pulitzer Prize for Drama and Tony Award for Best Play for August: Osage County. His other plays include Superior Donars; Pulitzer Prize-finalist Man from Nebraska; Killer Joe, which was adapted into a critically acclaimed film; and Bug, which has played in New York, Chicago and London and was adapted into a film. Letts garnered a Tony Award for his performance in the Broadway revival of Who's Afraid of Virginia Woolf?
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Specificații
ISBN-13: 9781513269139
ISBN-10: 1513269135
Pagini: 68
Dimensiuni: 127 x 203 x 5 mm
Greutate: 0.08 kg
Editura: Mint Editions
Seria Mint Editions
ISBN-10: 1513269135
Pagini: 68
Dimensiuni: 127 x 203 x 5 mm
Greutate: 0.08 kg
Editura: Mint Editions
Seria Mint Editions
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Descriere
Descriere de la o altă ediție sau format:
You'd be hard put to find a better script to work with than this translation by Michael Frayn . . . It sticks rigorously to the inner thrust of the play while giving it a fresh, crisp clarity that makes it not just accessible but compelling to watch. The underlying tragedy . . . is intact. It is made more moving, not less, by the way Frayn's ineffably light touch has caught too the comedy of Andrey and his three sisters.' GUARDIAN
'Frayn puts well the central statement of this most moving of dramas: it is about the irony of the hopes by which people live and the way their destiny mocks them. Chekhov shows how life is both nourished and poisoned by the act of hope itself' DAILY TELEGRAPH
Following their father's death, life for sisters Olga, Masha and Irina in a Russian provincial garrison town has become unbearably dull. They feel they have become culturally, romantically and intellectually starved. To these sisters, Moscow, where they once lived and in spite of its sad memories, has become a symbol of unfulfilled hope, promises and opportunity, and one which contrasts with the tedium of their own lives and circumstances. The sisters' main hope of moving to Moscow depends on their brother, Andrey, with his ambitions to work in academia in Moscow.
Set over three and a half years at the turn of the twentieth century, and premiered at the Moscow Art Theatre in 1901, Chekhov's play has become among the most iconic in modern theatre.
This translation is by Michael Frayn, one of today's most eminent British playwrights and translators of Russian drama.
Commentary and notes by Nick Worrall.
You'd be hard put to find a better script to work with than this translation by Michael Frayn . . . It sticks rigorously to the inner thrust of the play while giving it a fresh, crisp clarity that makes it not just accessible but compelling to watch. The underlying tragedy . . . is intact. It is made more moving, not less, by the way Frayn's ineffably light touch has caught too the comedy of Andrey and his three sisters.' GUARDIAN
'Frayn puts well the central statement of this most moving of dramas: it is about the irony of the hopes by which people live and the way their destiny mocks them. Chekhov shows how life is both nourished and poisoned by the act of hope itself' DAILY TELEGRAPH
Following their father's death, life for sisters Olga, Masha and Irina in a Russian provincial garrison town has become unbearably dull. They feel they have become culturally, romantically and intellectually starved. To these sisters, Moscow, where they once lived and in spite of its sad memories, has become a symbol of unfulfilled hope, promises and opportunity, and one which contrasts with the tedium of their own lives and circumstances. The sisters' main hope of moving to Moscow depends on their brother, Andrey, with his ambitions to work in academia in Moscow.
Set over three and a half years at the turn of the twentieth century, and premiered at the Moscow Art Theatre in 1901, Chekhov's play has become among the most iconic in modern theatre.
This translation is by Michael Frayn, one of today's most eminent British playwrights and translators of Russian drama.
Commentary and notes by Nick Worrall.
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.'
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
Notă biografică
Tracy Letts was awarded the 2008 Pulitzer Prize for Drama and Tony Award for Best Play for August: Osage County which premiered at Steppenwolf Theatre in 2007 and later played on Broadway, at London’s National Theatre, and at theatres around the United States and internationally. In 2013, August: Osage County became a feature film starring Meryl Streep and Julia Roberts. Other writing credits include Man from Nebraska, Killer Joe, Bug and Superior Donuts. He has been an ensemble member at Steppenwolf Theatre Company since 2002. As an actor, he was awarded a 2013 Tony Award for Best Actor in a Play for his performance in Who's Afraid of Virginia Woolf?. His screen acting credits include a starring role on Homeland/