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The Seagull

by Anton Chekhov

3.87 · rating details · 2,814 ratings · 84 reviews

ChekhovUs treatment of theatre and love against the background of a magical lake attempts to define the role of the artist in the modern world. Plays for Performance Series.

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Published by Ivan R. Dee Publisher (first published 1895)

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Mar 21, 2009

Bruce rated it

· review of another edition

When I read a play, I am always aware of what a limited view I have of the work, knowing that I am seeing a mere skeleton without any flesh, a framework on which must be hung the realization of the work of art; thinking that I have truly experienced the play by just reading it is, I think, much like convincing myself that I know a Beethoven symphony simply because I have read the score. I have never seen Chekhov’s “Seagull” produced, and that is frustrating. I have read about it and can, by my...more

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Jul 23, 2011

Stephanie Davies rated it

· review of another edition

Chekhov described his play as “a comedy, three f., six m., four acts, rural scenery (a view over a lake); much talk of literature, little action, five bushels of love,” a description which hardly does justice to one of the best additions to the literature canon. The Seagull is concerned with such compelling topics as unrequited love, failure, abandonment, and the banality and stifling mediocrity of life. There are certainly funny moments within the play-- for instance, it is difficult to point...more

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Feb 02, 2010

Bettie rated it

· review of another edition

Shelves: winter20092010, slavic, play-dramatisation, fraudio, published-1895, satire

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Feb 03, 2010

Laura rated it

· review of another edition

Recommends it for: Bettie

Shelves: audio-books, russian-fiction, read-2010

This review has been hidden because it contains spoilers. To view it, click here.

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Feb 01, 2010

Kate rated it

· review of another edition

Anton Chekhov's play THE SEAGULL was first performed in 1896. The play addresses and explores many themes but one that affected me most is Trigorin's view of his writing. B. A. Trigorin is an accomplished writer who speaks of his insecurities to Nina, a naive actress. Trigorin's writing is his obsession and he cannot get away from it because he cannot get away from himself.

"A minor writer, especially, if he hadn't had much luck, sees himself as clumsy, awkward, and unwanted...dr...more

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May 28, 2011

Jimmy added it · review of another edition

Shelves: male, play, russia, year-1890s

This is a review of the performance I saw on May 28, 2011 in Atlanta, and not of the actual play as written.

Chekhov is one of my favorite writers and it pains me to see him performed in this way. It also pains me to trash an Atlanta production of a serious play (I do want to be encouraging, afterall). Atlanta doesn’t often perform Chekhov, or anything halfway serious for that matter. It’s like we’re so afraid of boring the audience we have to make everything into an easy joke, w...moreThis is a review of the performance I saw on May 28, 2011 in Atlanta, and not of the actual play as written.

Chekhov is one of my favorite writers and it pains me to see him performed in this way. It also pains me to trash an Atlanta production of a serious play (I do want to be encouraging, afterall). Atlanta doesn’t often perform Chekhov, or anything halfway serious for that matter. It’s like we’re so afraid of boring the audience we have to make everything into an easy joke, which is why we never put on serious plays. But even when we do tackle Chekhov, we’re still going for those easy laughs.

Yes, I know it’s a comedy. But not in this way. Chekhov was subtle. Somehow this performance managed to make all the characters one-dimensional, which is not a word I would otherwise associate with Chekhov. The acting was horrible. There seemed to be entirely too much thought put into the set pieces and the movement of the actors around the stage (and the clever things they did in the background of the main action), and entirely too little attention paid to how the lines were actually delivered.

I don’t know how to write about bad acting. I can write about bad writing, but bad acting I do not have the vocabulary for. It just felt unnatural to my ears. It seems to me that there wasn’t enough attention paid to the silences between the lines, or the pauses where the thought comes before the words. It felt like a torrent of words without a real person behind them.

Anyway, I went home and read a few pages of this play (though in a different translation) just to make sure it wasn’t Chekhov’s fault. It wasn’t.

If anyone from this production is reading this, then I’m sorry if I hurt your feelings and please excuse my harshness. Don't stop trying to tackle hard plays, even if you fail every once in a while. If it’s any consolation, at least the Creative Loafing gave you guys a glowing review. Perhaps I don’t know what I’m talking about.(less)

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Dec 01, 2010

Steve rated it

· review of another edition

Shelves: plays, russians

Like Vanya, we have a pastoral love-triangle. This is much stranger, however, as it is metafictive (a play about plays and playwrights; about playacting--one must wonder if the characters are ever sincere, shades of Hamlet Act II.) and heavily indebted and intertextual with Hamlet. Again, there is a concern with the future (everyone agrees that eventually all life will die out--the end). Here there are Manichaean concepts in a play-within-the-play. Again, I'm left with the feeling that I'm missi...more

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Mar 14, 2011

Sarafiliz rated it

· review of another edition

I saw a brilliant production of this play on Broadway (brought over from London) a few years ago, so I guess I wouldn't say read it, I would say, if you can see a first class production of it that gets the humor and doesn't make Kostya a clueless sad sack, sell part of your book collection to get a ticket. For a writer, it's all about your worst nightmares. For anyone, the final scene between the two failed young lovers, and what follows, is devastating.

But reading it is worthwhile to...more

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Feb 05, 2012

Sam Woodfield rated it

· review of another edition

It's been quite a while since I read a play and this has reminded me that I should do more often as this was a very good quick read.
There is no real main protagonist in this play, although it seems to work around the life of Constantine who is a very sad young man who feels he is insignificant and a failure in all he does. He is unlucky in love, and a failed author and playwrite, his mother is far from affectionate and is only concerned with herself, leaving when Constantine needs her the ...more

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Nov 30, 2011

J.S. McLean rated it

· review of another edition

Oh Chekhov, you bummer you.

I can't believe I've never read this play before; there are lines in it that are not only exquisite, but were used by a friend of mine in a re-working of several Chekhov pieces performed several years ago. Somehow (like Cheever, and so many other things, I guess) it escaped me.

Definitely not a surprise; his reputation precedes him, and this play pans out pretty much exactly as expected. Fortunately, it's a bit hard to get attached to the charact...more

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Apr 10, 2010

Talieh rated it

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نمایشنامه مرغ دریایی آنتوان چخوف،ترجمه بهروز غریب پور__
آنچه مرا در رابطه با این نمایشنامه شگفت زده کرد،روابط شخصیت ها با یکدیگر بود. و واکنش آنها نسبت به موقعیت های متفاوتی که داشتند.نگاه کنستانتین به وضعیتش با دیالوگ دورن به تریگورین برای خواننده به شکل شوکه کننده ای به انتها می رسد. تمایز دیدگاه کنستانتین و نینا نسبت به هنر مورد علاقه شان درخشان ترین صحنه نمایش بود!

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Feb 16, 2011

Sherry rated it

· review of another edition

Shelves: cultural-political, plays, theatre-direction

This is the Chekhov play that brought his name to the forefront of Dramatic literature and created the moscow Art theatre that used as it's symbol the seagull in flight. Nina the young actress, beloved by Constantin Treplev, falls in love with his Mother's lover, Trigorin, runs away with him only to return, a fallen but oddly hopeful woman. She identifies with the seaqull who is shot by Treplev in the first scene and placed at her feet. Trigorin comments: A man comes along and shoots a seag...more

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Aug 07, 2011

Matthew Dunleavy rated it

· review of another edition

Recommends it for: Nobody

From spoilersliterature.blogspot.com;

I’ve been rather pleasant in all my reviews the past few months but that doesn’t mean I like everything out there; believe me, I don’t plan on saying many nice things about Anton Chekhov’s The Seagull (4 acts, 71 pages). The version I read was translated by Tom Stoppard and his introductory essay was more exciting than the content and the characters of the whole play.

The conversations throughout the play were considerably lofty without act...more

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Nov 20, 2008

Stewart rated it

· review of another edition

The Seagull takes place on a Russian estate at the turn of the 20th century, and centers on a fading, aging starlet, her experimental playwright son who has gotten lost in her shadow, a naive young actress that he is in love with, a perpetually unhappy estate manager's daughter who is in love with him, and a middle-brow author whose affection the starlet and young actress fight to win. Through these characters, and a supporting cast, Chekhov establishes two main themes: the disaffection that sp...more

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Aug 25, 2010

John Wiswell rated it

· review of another edition

The greatest pleasure and worst feature of The Seagull is figuring what it's about. Acquaintances gather on vacations together at this particular estate. We see them in multiple years of their engagements, yet every time they are distinctly unreal. They are not like any vacationers I’ve ever met; they are living thesis statements of emotion, existing in some insecure or pained mental place and exaggerating on it until it consumes them. I’m tempted to call the play a Fantasy and blame the unreali...moreThe greatest pleasure and worst feature of The Seagull is figuring what it's about. Acquaintances gather on vacations together at this particular estate. We see them in multiple years of their engagements, yet every time they are distinctly unreal. They are not like any vacationers I’ve ever met; they are living thesis statements of emotion, existing in some insecure or pained mental place and exaggerating on it until it consumes them. I’m tempted to call the play a Fantasy and blame the unrealism on a magic lake, as the setting is remarked upon multiple times.

You could argue that it’s convening like this that brings everything out of them, but in that case Chekhov has written a gale-force melodrama. It’s so much about ideas – the idea of artistic frustration, the idea of romantic failure – that melodrama doesn’t encompass it. It’s as though the cast is possessed by its emotions, causing a butler to quit within five exchanges of a disagreement and mother and son to have two huge emotional revelations within two pages. Perhaps it is about possession; an exorcism for the climax might have been funny. The playwright writes about the spirit being separate from or dominant over the flesh, which is a hint that something’s going on.

Chekhov doesn’t explain it, thus leaving his Fantasy ambiguous: the point is not a Shakespearian trickster god interfering, but how they feel, endure and fall apart. More, the point is to read (or perform) some very pretty lines about various anxieties. Many of them chaffe (yet another son angry with his mother’s lovelife; yet another couple falls apart for no apparent reason), but there are times when Chekhov’s insight and humanity are touching. My favorite was the description of the writing life by an elder author – how he can’t see something novel without noting to himself to include it in a story, whether it’s the smell of a flower or falling into arousal over this girl. Writing possesses him, as various preoccupations possess much of the cast. There’s a lot to it for actors to dig into if they want it, and good lines to mine for writers. It feels more like a curiosity than a work of art, but is worth reading (or seeing) if you have the opportunity. (less)

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Dec 25, 2008

Hanny Hindi rated it

· review of another edition

Shelves: anton-chekhov

I liked this play quite a bit more after seeing it (on 12/8) in the production with Kristin Scott Thomas and Peter Sarsgaard. I still prefer Ivanov, perverse though that opinion may be, but The Seagull is still wonderful.

There is not one character who isn't somehow sympathetic--another instance of the "warm-heartedness" Chekhov called a requirement of good art. Kostya is a pretentious writer and artiste, but one sympathizes with his obsession with new "forms" as ...more

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Apr 20, 2008

Núria rated it

· review of another edition

Recommends it for: idealistas, realistas y melancólicos

Shelves: 2008, mios, literatura-rusa, teatro, decimononicos, 5-favoritos

'La gaviota' tiene la mejor caída de telón final que se ha escrito nunca. No hay discusión posible. Como todas las obras de Chéjov es melancólica, contenida, llena de resignación, divertida, deliciosa y llena de amores no correspondidos. Y me encanta que en Chéjov siempre incluso los personajes más secundarios estén llenos de matices, tengan su historia detrás y una razón particular para su tristeza, además de un pequeño momento y unas líneas significantes para lucirse en escena. Como dos de los...more

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May 04, 2007

علی rated it

· review of another edition

Shelves: plays, modern-classic-drama

I sympathies with Chekhov’s characters, both in his fictions and plays; poeple who are deep in pain and disatsters, …and their hands are not long enough to chang their world around…

The last statement of Chekhov’s plays describes alomost the whole piece:
In Sea-Gul’s end, The doctor says: The fact is, Konstantin Gavrilitch has shot himself …
At Cherry Orchard’s end, when all are gone, Firs, the old valet (waiter) says: Life has slipped by as though, I hadn’t lived. I lie dow...moreI sympathies with Chekhov’s characters, both in his fictions and plays; poeple who are deep in pain and disatsters, …and their hands are not long enough to chang their world around…

The last statement of Chekhov’s plays describes alomost the whole piece:
In Sea-Gul’s end, The doctor says: The fact is, Konstantin Gavrilitch has shot himself …
At Cherry Orchard’s end, when all are gone, Firs, the old valet (waiter) says: Life has slipped by as though, I hadn’t lived. I lie down a bit … there is no strength in you, nothing left you, all gone! Ech! I’m good for nothing ..
In Three sisters’ end, Olga, Masha, and Irina keep talking about moving to Moscow day and night, but do nothing, just dream and sigh! At the end, it’s Olga who says; If we only knew, if we only knew …
In Uncle Vanja; it’s Sonya who says; We shall rest!

از سال های دبیرستان، به گمانم اولین بار "اتاق شماره ی شش"(ترجمه ی کاظم انصاری؟) بود که از چخوف خواندم، همیشه با شخصیت های چخوف، چه در داستان ها و چه در نمایش نامه هایش یک احساس همدمی و همدردی داشته ام، انگار که همسایه ام باشند، در یک محله، در همان شهر، در همان سرزمین، در همان خانه حتی. این آدم های ساده اما ناتوان که مدام دور خودشان می چرخند، از آنچه هستند به حد دلگیری دلزده اند، غرغر می کنند، شکست خورده، همیشه سرگرم یک زندگی حقیر، دلگرم آرزوهایی بزرگ اما، وامانده به گوشه ای نشسته اند بی آن که برای آن همه آرزو کاری صورت بدهند، دلخوش به "بهانه های ساده ی خوشبختی"، انگار که تقدیرشان را از عمق دل پذیرفته باشند، زندگی از بالای سرشا می گذرد. شخصیت های چخوف را به دلیل همین سادگی و بی پیرایه بودنشان دوست دارم و هرگز از خواندن و بازخواندنشان خسته نمی شوم. گاه دلم برایشان تنگ می شود و باز به سراغشان می روم. با این وجود، از این ناتوانی شان، از این که نشسته اند و همه چیز را پذیرفته اند و تنها قر می زنند، به حد مرگ خشمگین می شوم.
شاید آثار هیچ نویسنده ای به اندازه ی چخوف به فارسی ترجمه نشده باشد. از دهه ی دوم قرن حاضر شمسی، بسیاری از مترجمین اثری از چخوف ترجمه کرده اند، گاه مترجمی تنها یک داستان کوتاه از چخوف را به فارسی برگردانده است. یکی از قدیمی ترین آنها "باغ آلبالو" ترجمه ی بزرگ علوی ست. من نسخه ای از آن را دارم که در 1329 شمسی چاپ شده و قیمت آن 30 ریال بوده است!
با این همه مجموعه آثار چخوف به فارسی، ترجمه ی سروژ استپانیان در پنج جلد(سه جلد داستان های کوتاه و دو جلد نمایش نامه ها) که مستقیم از زبان روسی ترجمه شده و انتشارات توس بین سال های 1370 تا 1374 آنها را چاپ و منتشر کرده است، کاری ست از هر لحاظ ستودنی.

یادداشتی در مورد یک داستان کوتاه از چخوف
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Jul 03, 2011

Charlie Flannelly rated it

· review of another edition

Shelves: theatre, to-reread, my-actual-bookshelf

This review has been hidden because it contains spoilers. To view it, click here.

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Dec 09, 2008

Patricia rated it

· review of another edition

Unlike the edition in this picture, I read the play in an old edition of the Collected Plays translated by Fen, holding the pieces together together with a rubber band. Chekhov holds together nicely. I read the play again before going to see it performed by Kristin Scott Thomas et al. The production on Broadway is excellent. It is the first time I saw the character of the son portrayed beautifully by Mackenzie Crook (Gareth in the Office).

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Jan 13, 2011

Sherry rated it

· review of another edition

I read this play out of "The Plays of Anton Chekhov: A New Translation by Paul Schmidt." (see cover in my other goodreads listing.) This was my first taste of Chekhov. Not knowing what to expect - I read w/o preconceived notions. I had just heard that he was a great Russian playwright and that his plays are still being performed in America. I may need to read it again for more understanding, as I did have a bit of trouble keeping track of who was saying what to whom, with all the...more

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Nov 24, 2009

Jake rated it

· review of another edition

Shelves: drama, school-reads

I don’t understand how this Chekhov play is considered a “Comedy”, but it is. My sense is that comedy in contemporary English has a simpler more shallow definition, namely somethin’ that makes you laugh. Shakesperean comedy is more than that, and so apparently is a comedy by Chekhov.

During college, I was introduced to this play in a Literature elective class called “Great Plays.” So my first experience with this play was reading it silently to myself. That is a great way to experien...more

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Feb 03, 2011

Joyce Mitchell rated it

· review of another edition

I love the way Russian writers write men ... they're so passionate, irrational, wild, and 'woman like' in their restless pursuit for love. Got a chance to see this play at the Mill Valley Theatre, and loved the new dialogue that was added (originally censored by the gov't during Chekhov's time). Can't wait to discover more by this whimsical writer.

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Apr 12, 2011

Mary Lou rated it

· review of another edition

(read for Theatre Studies class) - took a couple of reads and some class discussion for me to appreciate this. On first reading I wanted to knock people’s heads together - bourgeois and upper class, self-absorbed navel gazers. But I do see now how it is a subtle, character piece. I’d like to see a production.

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Jan 07, 2012

Jen rated it

· review of another edition

I was Nina in college. Not metaphorically, I actually played the role. I would not have remotely understood the play ( not had the patience to pay attention past Act I) had I not been in it. Need to re-read as an adult. Quite twisted ( not in a sister way but relationships) and dark.

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Nov 29, 2008

Letitia rated it

· review of another edition

While Chekhov's skill as a writer and ability to create characters can hardly be questioned at this point, even his best works still do not translate well to the common audience. Would rather have read this as a novel than sat through it in a theatre.

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Mar 03, 2008

Dorkus Malorkus rated it

· review of another edition

Recommends it for: russians. actors who love period pieces.

Recommended to Dorkus by: mike nichols. merryl streep and christopher walken.

checkov is hit or miss with me. loved the cherry orchard, hated the proposal. go figure.

this is the baby that started it all for me. i had graduated highschool and moved to new york to begin my futhur education and just happned to be in the right place at the right time for the greatest stae show in history. director mike nichols and a super cast that had merryl streep, christopher walken, phillip seymore hoffman, natalie portman, marcia gay harden, john goodman, kevin kline, and a c...more

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Aug 11, 2011

Sarah Kleist rated it

· review of another edition

As far as a play with monologues, this one made for a couple great young female monologues. It was definitely a good read. I didn't understand a lot of the symbolism but if I analyzed it enough I could probably understand.

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Apr 27, 2011

Riham rated it

· review of another edition

Shelves: russian-literature

كاتب..وممثلة!تراها صدفة؟؟!ـ

لم أعهد قراءة المسرحيات لظنى أنها مملة..تشيخوف غير تلك الفكرة..لم تكن المسرحيات اقل امتاعا من القصص والروايات!

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Mar 05, 2010

Lizanne Whittaker added it · review of another edition

Oh Chekhov, you depressing Russian playwright. Your work is brilliant and difficult to read. A good translation is pretty key, but you can get the gist of the characters and story from any of them. A classic, if a downer.

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About Anton Chekhov

Антон Павлович Чехов

Anton Pavlovich Chekhov was born in the small seaport of Taganrog, southern Russia, the son of a grocer. Chekhov's grandfather was a serf, who had bought his own freedom and that of his three sons in 1841. He also taught himself to read and write.Yevgenia Morozov, Chekhov's mother, was the daughter of a cloth merchant.

"When I think back on my childh...moreАнтон Павлович Чехов

Anton Pavlovich Chekhov was born in the small seaport of Taganrog, southern Russia, the son of a grocer. Chekhov's grandfather was a serf, who had bought his own freedom and that of his three sons in 1841. He also taught himself to read and write.Yevgenia Morozov, Chekhov's mother, was the daughter of a cloth merchant.

"When I think back on my childhood," Chekhov recalled, "it all seems quite gloomy to me." His early years were shadowed by his father's tyranny, religious fanaticism, and long nights in the store, which was open from five in the morning till midnight. He attended a school for Greek boys in Taganrog (1867-68) and Taganrog grammar school (1868-79). The family was forced to move to Moskow following his father's bankruptcy. At the age of 16, Chekhov became independent and remained for some time alone in his native town, supporting himself through private tutoring.

In 1879 Chekhov entered the Moskow University Medical School. While in the school, he began to publish hundreds of comic short stories to support himself and his mother, sisters and brothers. His publisher at this period was Nicholas Leikin, owner of the St. Petersburg journal Oskolki (splinters). His subjects were silly social situations, marital problems, farcical encounters between husbands, wives, mistresses, and lovers, whims of young women, of whom Chekhov had not much knowledge – the author was was shy with women even after his marriage. His works appeared in St. Petersburg daily papers, Peterburskaia gazeta from 1885, and Novoe vremia from 1886.

Chekhov's first novel, Nenunzhaya pobeda (1882), set in Hungary, parodied the novels of the popular Hungarian writer Mór Jókai. As a politician Jókai was also mocked for his ideological optimism. By 1886 Chekhov had gained a wide fame as a writer. His second full-length novel, The Shooting Party, was translated into English in 1926. Agatha Christie used its characters and atmosphere in her mystery novel The Murder of Roger Ackroyd (1926).

Chekhov graduated in 1884, and practiced medicine until 1892. In 1886 Chekhov met H.S. Suvorin, who invited him to become a regular contributor for the St. Petersburg daily Novoe vremya. His friendship with Suvorin ended in 1898 because of his objections to the anti-Dreyfus campaingn conducted by paper. But during these years Chechov developed his concept of the dispassionate, non-judgemental author. He outlined his program in a letter to his brother Aleksandr: "1. Absence of lengthy verbiage of political-social-economic nature; 2. total objectivity; 3. truthful descriptions of persons and objects; 4. extreme brevity; 5. audacity and originality; flee the stereotype; 6. compassion."

Chekhov's fist book of stories (1886) was a success, and gradually he became a full-time writer. The author's refusal to join the ranks of social critics arose the wrath of liberal and radical intellitentsia and he was criticized for dealing with serious social and moral questions, but avoiding giving answers. However, he was defended by such leading writers as Leo Tolstoy and Nikolai Leskov. "I'm not a liberal, or a conservative, or a gradualist, or a monk, or an indifferentist. I should like to be a free artist and that's all..." Chekhov said in 1888.

The failure of his play The Wood Demon (1889) and problems with his novel made Chekhov to withdraw from literature for a period. In 1890 he travelled across Siberia to remote prison island, Sakhalin. There he conducted a detailed census of some 10,000 convicts and settlers condemned to live their lives on that harsh island. Chekhov hoped to use the results of his research for his doctoral dissertation. It is probable that hard conditions on the island also worsened his own physical condition. From this journey was born his famous travel book The Island: A Journey to Sakhalin (1893-94). Chekhov returned to Russia via Singa(less)

More about Anton Chekhov...

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The Lady With the Little Dog and Other Stories, 1896-1904

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Quotes from The Seagull

“If my life can ever be of any use to you, come and take it.” — 27 people liked it

“MEDVIEDENKO
Why do you always wear mourning?

MASHA
I dress in black to match my life. I am unhappy.” — 13 people liked it

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BBCode	[url=http://www.goodreads.com/book/show/1087010.The_Seagull?utm_medium=api&utm_source=blog_book][img]http://photo.goodreads.com/books/1180880838m/1087010.jpg[/img][/url] [url=http://www.goodreads.com/book/show/1087010.The_Seagull?utm_medium=api&utm_source=blog_book]The Seagull by Anton Chekhov[/url]

The Seagull

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