By J. Douglas Clayton, Yana Meerzon
This booklet considers the hundred years of re-writes of Anton Chekhov’s paintings, proposing a large geographical panorama of Chekhovian affects in drama. the quantity examines the elusive caliber of Chekhov’s dramatic universe as an elaborate mechanism, an engine during which his enigmatic characters exist because the dramatic and mental ciphers we've been de-coding for a century, and proceed to do so. Examining the perform and the idea of dramatic version either as intermedial transformation (from web page to level) and as intramedial mutation, from web page to web page, the book offers variation because the rising style of drama, theatre, and picture. This development marks the performative and social practices of the recent millennium, highlighting our epoch’s have to interact with the historical past of dramatic varieties and their evolution. the gathering demonstrates that version because the perform of transformation and as a re-thinking of ordinary dramatic norms and style definitions results in the rejuvenation of current dramatic and performative criteria, pioneering the construction of recent traditions and expectancies. because the significant mode of the storytelling mind's eye, version can construct upon and force the audience’s horizons of expectancies in theatre aesthetics. for that reason, this quantity investigates the unique and transformative wisdom that the tale of Chekhov’s drama in mutations bargains 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
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. Print. Reid, John McKellor.
K. Hall, 1989. 169–86. Print. Bunin, Ivan. About Chekhov: The Unﬁ nished Symphony. Ed. and trans. Thomas Gaiton Marullo. Evanston: Northwestern UP, 2007. Print. Chekhov, Anton. Polnoe sobranie sochinenii. 18 vols. Moscow: Nauka, 1983–88. Print. Polnoe sobranie sochinenii. Pis’ma. 12 vols. Moscow: Nauka, 1974–83. Print. Chudakov, A. P. Chekhov’s Poetics. Ann Arbor: Ardis Publishers, 1984. Print. Clayton, J. Douglas. “‘Ia chaika. P. ” Drama i teatr 5 (Tver’, 2005): 135–39. Print. Diagnosis and Balagan 31 .
But Chekhov’s art is not realistic, which would imply making judgments and moralistic statements, but comprised observations of psychological reality presented without judgment in such a way that they take on a comic tinge. In a seminal article in the early twentieth century the poet and playwright Mayakovsky rejected the Stanislavskyan approach to staging Chekhov. Mayakovsky’s own plays occupy a special place in the history of Russian dramaturgy and, I would argue, develop precisely the vaudevillian aspect of Chekhov’s work.
Adapting Chekhov: The Text and its Mutations by J. Douglas Clayton, Yana Meerzon