By Anton Chekhov, Stephen Mulrine
The NHB Drama Classi sequence provides the world's maximum performs in cheap, hugely readable variations for college students, actors and theatregoers. The hallmarks of the sequence are obtainable introductions (focussing at the play's theatrical and ancient history, including an writer biography, key dates and proposals for additional examining) and the full textual content, uncluttered with footnotes. The translations, by means of top specialists within the box, are exact and specifically actable. The variations of English-language performs comprise a thesaurus of bizarre phrases and words to assist understanding.
This Drama Classi version of Anton Chekhov's masterpiece of provincial claustrophobia is translated and brought through Stephen Mulrine.
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Additional info for Three Sisters: Full Text and Introduction
TUZENBAKH. Yes, we must work. No doubt you’re thinking, well, that’s just a German getting emotional. But I’m Russian, my word of honour – I don’t even speak German. My father’s Orthodox … A pause. VERSHININ (pacing about the stage). You know, I often think: what if we could start life over again, knowing what we do now? If this one life, which we’ve lived out, could’ve been a rough draft, as they say, and the next one, the fair copy! Well, first and foremost, my guess is we’d try not to repeat ourselves.
SOLIONY. Well, I know why. Everyone turns to look at him. It’s because if the station were nearer, then it wouldn’t be so far, but since it’s far, that means it isn’t near. An awkward silence. TUZENBAKH. You’re a great joker, Soliony. OLGA. Now I’ve remembered you too. I do remember. VERSHININ. I knew your dear mother. CHEBUTYKIN. She was a fine woman, may God rest her soul. IRINA. Mama was buried in Moscow. OLGA. In the Novo-Devichy cemetery … MASHA. Would you believe, I’m already beginning to forget her face?
The rapturous reception accorded to The Seagull, at its Moscow première on the 17th of December 1898, has of course passed into theatre legend, as have Chekhov’s disagreements, with Stanislavsky in particular, over the interpretation of his work. In general terms, Stanislavsky tended to over-direct the plays, often imposing a sentimental colouring on Chekhov’s characters, and detailing their physical environment too precisely through his notorious noises-off. What the Moscow Art Theatre did give Chekhov, however, was adequate rehearsal – twelve weeks for The Seagull, for example – and indeed the company’s legacy can be seen in the extravagant run-up times, and autocratic direction, of much Russian theatre still.
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