By J. Douglas Clayton, Yana Meerzon
This ebook considers the hundred years of re-writes of Anton Chekhov’s paintings, providing a large geographical panorama of Chekhovian impacts in drama. the amount examines the elusive caliber of Chekhov’s dramatic universe as an tricky mechanism, an engine during which his enigmatic characters exist because the dramatic and mental ciphers we now have been de-coding for a century, and proceed to do so. Examining the perform and the idea of dramatic edition either as intermedial transformation (from web page to level) and as intramedial mutation, from web page to web page, the book provides model because the rising style of drama, theatre, and picture. This pattern marks the performative and social practices of the hot millennium, highlighting our epoch’s have to have interaction with the historical past of dramatic kinds and their evolution. the gathering demonstrates that edition because the perform of transformation and as a re-thinking of ordinary dramatic norms and style definitions ends up in the rejuvenation of present dramatic and performative criteria, pioneering the production of recent traditions and expectancies. because the significant mode of the storytelling mind's eye, variation can construct upon and force the audience’s horizons of expectancies in theatre aesthetics. consequently, this quantity investigates the unique and transformative wisdom that the tale of Chekhov’s drama in mutations deals to students of drama and function, to scholars of recent literatures and cultures, and to theatre practitioners worldwide.
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Extra info for Adapting Chekhov: The Text and its Mutations
First, Chekhov points out that birds are physically differentiated because of the necessity for the female to sit on the eggs, while horses are much less differentiated physically because they are mammals. He tells his brother: “You are more like Anna Ivanovna [Aleksandr’s common-law wife] and a male horse is more like a female horse than a male kangaroo is like a female” (Polnoe sobranie sochinenii. Pis’ma [PSSP] 1: 64). These tantalizing early comments about male–female sexuality and their inequality offer a glimpse of the thinking that went into the myth.
Nezhnaia dusha. Web. 9 Dec. 2011. Papernyi, Zinovii. ” Critical Essays on Anton Chekhov. Ed. Thomas A. Eekman. Boston: G. K. Hall, 1989. 160–69. Print. Pitcher, Harvey. The Chekhov Play: A New Interpretation. London: Chatto and Windus, 1973. Print. Polotskaia, Emma. “Vishnevyi sad”: Zhizn’ vo vremeni. Moscow: Nauka, 2003. Print. Rayﬁeld, Donald. Anton Chekhov: A Life. New York: Henry Holt, 1998. Print. Understanding Chekhov: A Critical Study of Chekhov’s Prose and Drama. Madison: U of Wisconsin P, 1999.
7. Peter Brook uses precisely this metaphor (qtd. in Gottlieb 192). 8. As Pitcher rightly points out: “Even the obviously minor characters stand out as independent ﬁgures, and are never just an incidental part of someone else’s world, as in conventional drama” (13). 9. On the mature plays as an extension of the one-acters, see Gottlieb 191. 10. For information on the balagan as a concept, see my book Pierrot in Petrograd 54–55. WORKS CITED Bentley, Eric. ” Critical Essays on Anton Chekhov. Ed. Thomas A.
Adapting Chekhov: The Text and its Mutations by J. Douglas Clayton, Yana Meerzon