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Five Plays: Ivanov / The Seagull / Uncle Vanya / Three Sisters / The Cherry Orchard

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Five Plays: Ivanov / The Seagull / Uncle Vanya / Three Sisters / The Cherry Orchard

by Anton Chekhov, Peter Carson (Translator), Richard Gilman (Introduction)

4.13 · rating details · 1,012 ratings · 70 reviews

Anton Chekhov wrote that "narrative is my legal wife and drama a flamboyant, rowdy, impudent, exhausting mistress." At a time when the Russian stage was dominated by farces, formulaic melodramas, and vaudevilles, Chekhov created plays that focused on characters grappling with moral questions. His works baffled his audiences, but his sensitive explorations of love...more

paper, 416 pages

Published September 3rd 2002 by Penguin Classics (first published 1940)

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May 04, 2009

Lavinia rated it

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Shelves: 2009, plays

Livada de visini ****
* Mi s-a parut cea mai sensibila, poate pentru ca sentimentul pierderii e aici foarte evident si puternic: livada de visini e vinduta in cele din urma si intreaga familie e privata de locul cel mai drag lor, pierderea livezii putind echivala cu pierderea sperantelor, desi in final Trofimov exclama: “Viata noua, te salutam!” Sau poate, intr-un ton mult mai mundan, pierderea livezii echivaleaza cu noua ordine sociala ce se instala in Rusia vremii respective.

...more

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Mar 24, 2010

Troy rated it

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Shelves: plays

I should preface my comments by stating that I’m not a very theatre literate reader. My approach to these plays is that which I take towards any literary text, and for a long time now I have felt sated by my reading of Chekhov’s short stories. However, having read two Chekhov studies (by Rayfield and Kataev respectively) in recent months, I thought it was high time I delved into what Chekhov is most renowned for: his plays.

As is to be expected, Chekhov’s plays share...more

I should preface my comments by stating that I’m not a very theatre literate reader. My approach to these plays is that which I take towards any literary text, and for a long time now I have felt sated by my reading of Chekhov’s short stories. However, having read two Chekhov studies (by Rayfield and Kataev respectively) in recent months, I thought it was high time I delved into what Chekhov is most renowned for: his plays.

As is to be expected, Chekhov’s plays share many thematic concerns with his stories. Throughout these five pieces we encounter an array of characters who, having undergone a change, realise they can no longer comprehend the make-up of the world around them or their place in it, and must now struggle to account for their life perceived from this new, and less flattering, vantage. For the first plays in this collection, Chekhov (following Hamlet) has this change take place before the commencement of the play. In ‘Ivanov’, the protagonist has worn himself out, got into debt and fallen out of love with his wife; Vanya in ‘Uncle Vanya’ has realised that the professor Serebryakov, for whom he was until recently devoted and for whom he has sacrificed himself, is not the preeminent academic he originally thought he was; and in ‘The Seagull, although the moments of change occur in the middle of the play when Treplev and Nina set out into the world, they take place off stage in a two year interval between acts three and four - it is the repercussions of these ‘unseen’ events which provide the drama of the fourth act. ‘Three Sisters’ and ‘The Cherry Orchard’ differ slightly in that the sense of disillusionment and solitariness which has developed in the characters has been over a period of years. This generalised sense of accumulation and waste of time is intrinsic to the ever more expansive atmospherics of Chekhov’s plays, which commenced with a tight narrative focus on a single protagonist in ‘Ivanov’, and evolve by degrees into the mood-steeped ‘The Cherry Orchard’, in which, although major and minor roles are identifiable, no single character is privileged by the play’s narrative structure.

The injunction against treating Chekhov’s characters as mouthpieces for either his personal sentiments or his plays’ themes saturates critiques of Chekhov (or at least the portion I’ve read). Yet, surely this quote from Natasha in ‘Three Sisters’ is representative of the Chekhovian predicament;

“Either I don’t understand you or you’ve made up your mind not to understand me.”

For what is consistent throughout these five plays (and here I acknowledge debt to Kataev), is that Chekhov’s characters are ultimately defeated by their inability to orientate themselves according to the principles upon which they choose (or have hitherto chosen) to live their lives. These generalising principles (be it a longing to return to Moscow, faith in a teetering aristocracy, or artistic ideals) all blind the characters in these plays to the mess they are making of their lives, and more importantly, the damage they are inflicting on others, blinkered as they are to any perspective other than their own. This inimical cycle, most often educed in unrequited, inter-linked love interests, is the fault of no one character in particular; everybody is equally to blame.

All this obviously forms a rather grand generalisation in itself, for across the five plays what is identifiable as the Chekhovian purlieus is treated in each instance with attention to the idiosyncratic. What’s more, Chekhov’s insight becomes progressively more sublimated into the action of the plays as his virtuosity augments. And it is this aspect which particularly struck me in reading these plays; Chekhov is both ruthless in exposing the delusions and weaknesses of his characters, but compassionate towards their struggles. As an author, he very rarely allows his characters to speak for him, and he requires none of them bear the burden of his theme. Yet nor do his characters merely perform functions in an over-arching structure; their complexity, individuality and foibles are valued and lamented; they are left to their own devices, to fail and be defeated by time. But this is not an absurdist, Beckettian sense of cyclic time in which there is “nothing to be done”*. In Chekhov, characters quite simply have not made the most of time and are now left stale, waiting, un-comprehending and alone. It is here that Chekhov’s understanding of the comic is important, for the follies of his characters are not attributable to their environment and happenstance; it is the characters alone who are responsible for their (collective) plight. However, the light which shines through this sense of atrophy is the possibility Chekhov affords us of recognition, perhaps even self-recognition, and thus an opportunity to change.

*This I’ve lifted from an essay I printed on-line, but which I’ve unfortunately no idea who wrote and can’t seem to find again. Sorry, whoever you are!
(less)

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Jul 18, 2011

Jan-Maat added it · review of another edition

Shelves: 20th-century, 19th-century, plays, read-in-translation, russia

I don't think that this translation is the one that I was familiar with and can't recommened one translation in particular.

Chekhov has a had a strange fate in English were his plays - down to revivals of Ivanov - seem to be more valued than his short storys. Chekhov's plays have tapped into a particular British nostalgia which dosn't help us to understand them in their own context. Chekhov wasn't a solidly middle-class Edwardian Englishman reflecting on a world that had vanished af...more

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Nov 29, 2010

Corinne rated it

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This book consists of five different plays. As I read each one, I just wrote down my thoughts:

Ivanov: a disillusioned landowner is fed up with his life. Really, he just over-thinks everything and has given up on trying to be happy. There is a lot of fussing over Ivanov and his choices - ever since his marriage to a "Jewess" who gave up her family and religion to be with him, he's gone emotionally downhill. There is a lot of men crying in this play and if I had to give it...more
This book consists of five different plays. As I read each one, I just wrote down my thoughts:

Ivanov: a disillusioned landowner is fed up with his life. Really, he just over-thinks everything and has given up on trying to be happy. There is a lot of fussing over Ivanov and his choices - ever since his marriage to a "Jewess" who gave up her family and religion to be with him, he's gone emotionally downhill. There is a lot of men crying in this play and if I had to give it a theme or a point, I think it's that other people and the outside world can't really make up for our own lack of effort at happiness. I could be TOTALLY OFF.

The Sea Gull: We're in the countryside with a group of artists and wanna-be artists. No one is happy with their lot - if they are already an artist, their work consumes them and disappoints them. If they aren't, they can't imagine how they will be happy until they are an acknowledged artist. I appreciated several interesting passages, some quite thought provoking, on writing and the passion of writers. There's a lot of selfishness, though, and there isn't a character to balance that out - we're all most intrigued our own self-interest. The book claims this play is a "comedy," but, um, I didn't find really anything funny, so it might have a different definition of comedy than I do.

Uncle Vanya: In this story, we've got a gouty old professor, his very young second young and a bunch of the family and friends of his first wife (as well as their daughter). The professor and his wife are from town, sort of sweeping in and creating a bustle of needs at the estate that is run primarily by the brother-in-law and the daughter. So many relationships to keep straight, it was one of the puzzles of this play for me, to keep everyone straight (oh wait, that has happened in every play). There is unrequited love and disillusionment (HERE are the themes!), but also some forward-thinking, environmentally aware characters. I liked that there was discussion in this play about Russia and Russians and hard it is to rise above the drudgery of life there. This was a more interesting, faster read than the other two for me, although things are wrapped up almost too nicely in the end.

The Three Sisters: living in a provincial town with their brother, Olga, Irina and Masha begin the play remembering their recently deceased father, eager to begin a useful life of work, culture and purpose. The army regiment in town provides most of the rest of the cast, infusing the environment with prospective lovers and philosophical conversation companions. Of course things do not go well for the sisters – I’ve just recognized the trend in Chekhov’s plays and didn’t expect giddy happiness for them, but of all the characters I’ve read about so far, I liked these sisters the best. They seem to sincerely care about each other and while they get desperate with longing for what they once had, they don’t give up on each other. Their sister-in-law is a malicious character, slowly sucking the marrow out of their household. I would recommend reading some critical analysis of the play, because that made it even more meaningful – there’s a fascinating disintegration of the sisters and their brother, a sad reflection of the disintegration of cultured Russian society at the time. I liked reading this one a lot.

The Cherry Orchard: along the same theme at The Three Sisters, we're at a provincial estate run by the adopted daughter of a woma, Luybov, who along with her brother Gayev has squandered all the wealth of their ancestral home and its famous cherry orchard. What is to be done to pay the bills? While Luybov and Gayev are rather blase about the issue, others on the estate (and those who are interested in its possibilities) are frantic to decide its fate. One character in particular, a perpetual student great friend of Luybov's daughter Anya, has a tendency to get philosophical about the situation and I really loved his observations. In one rather long speech, I felt like he dug into the crux of all of Chekhov's plays when he talks about the failings of the Russian intelligentsia, their lack of work ethic or interest in really doing something about their affairs. In another speech that I REALLY loved, he waxes eloquent about the sad history of Russia's serfs and how so much of the beauty in Russia was built on the backs of slave labor. In this play, there are more characters who see that just because the orchard might be lost, it doesn't mean we have to give up and shoot ourselves (certainly a twist of Chekho's usual theme) - we can find work and be loved and have other adventures out in the wide world. Of course, other characters are not half so optimistic, and I wouldn't say its a happy play, but it felt more like it went full circle, where I could see the depth of it without having to have someone else tell me. I'd love to see it performed.

SO. I read five plays! Holy cow. I have officially decided I would like to try reading more from that land of Russia, what a different vein of experiences than my own and what a different way of looking at the world. Reading plays is NOT easy, but it helps that there is a list of characters at the beginning that you can refer to for all those tricky Russian names :) Honestly? It's not for the faint of heart, but it really is worth it, I think, to immerse yourself in provincial Russia for a while and to wonder how you would deal with a world where it seems like you are constantly hitting your head against a brick wall and everyone around you is doing the same dang thing. Could you stay true to your wife/husband/fiance? Could you work through the stress without succumbing to constant philosophizing or complaining? Hard to say, but interesting to think about.(less)

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Jul 08, 2011

Maureen rated it

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Shelves: grad-school

This is my second attempt at tackling a Chekhov play in the last few months. If I had to rate it (which, I guess is what I'm doing here, after all,) I'd say it's more entertaining than the last one I read (The Three Sisters) and less entertaining than watching fish swim in an aquarium, especially if you're not an avid aquarium enthusiast.

The plot of The Cherry Orchard was more palatable; a once-wealthy Russian landowner as a problem spending money and confronting her problems. When...more

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Oct 16, 2009

Thurston Hunger rated it

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There's a lot of misery in these comedies? And quite an odd mix of affirmation and nihilism. Not quite a recipe, but include at least one babbling fool, and one case of unwanted affection. Upper crust going stale, a world ending, and yet things not really changing in big arc?

Translation of the plays in this book is by Ann Dunnigan. I have no idea if they are spot on or not. I'll have so see some performances of these to see how they affect me in presentation, I recall having seen "...more

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Jul 30, 2011

Garrett rated it

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Several plays that are screaming indictments for change in my opinion. I picked these back up at an interestingly strange time in American history - wouldn't right now be a wonderful and stark time for someone somewhere to stage a revival of The Cherry Orchard? I mean, it has everything we love about our economy and society - difficulty of expression of feelings, a mess in the mortgage holdings of a family, and all this coming from a family and society where those with money seemingly think th...more

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Jan 06, 2008

Vanja Antonijevic rated it

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There is something special about Chekhov. I would have to admit that Dostoevsky and Tolstoy may be greater writers than he is, but it seems that no writer has been able to produce a certain Russian spirit, tone, and sentiment as well as Chekhov in his writings. To put it simply, his plays and short stories have more "soul" and "heart" to them than anything else I have read. The Russian Shakepeare is my second favorite Russian author (after Dostoevsky), and is an underapprecia...more

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Dec 30, 2011

Stacie rated it

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Shelves: i-own, i-love-russia

I read "The Three Sisters" some time ago and remember really liking it.

I just read "The Cherry Orchard" and while I was amazed at the emotion found in so few pages, I was definitely left wanting more...more of the story, more of the characters...just more.

I will probably one day read the other three as well, but I am still marking this as read, so there.

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Mar 14, 2011

Cassandra Silva rated it

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Shelves: classics, theatre

These plays are so carefully measured in tone and rhetoric that I think it would be impossible to determine what they would be like without actually seeing them preformed on stage. I also imagine that a great deal of the nuance of the work would depend heavily on the actors chosen. I chose more eccentric actors for my own mind while reading this work and found that enjoyable. This could also be terribly boring given the wrong cast.

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Mar 05, 2011

Serena rated it

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Shelves: c20th-literature-reading-list

suprisingly good. I enjoyed reading the preface and having an insight to the author. I think he was ensuring that if he ever failed at medicine then he could have a part in one of his plays. Off to see the Cherry Orchard later this year which I don't think I would have done had I not read the play.

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Jul 26, 2008

Brenda rated it

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Recommends it for: Theatre folk - anyone, really

Three young orphaned women and their brother live in the boonies of Russia, desparately hoping to return to their childhood home of Moscow. As the years go by, the women's fortunes fall, their lives become lonelier and they get no closer to their dearest dream.

I've read this 3 or 4 times and I keep seeing more and more of the humour of this piece. It's a sad, dark, somewhat depressing humour to be sure, but it's there. The women slowly become more deeply trapped in their habits an...more

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Jun 08, 2011

Jesse rated it

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Shelves: classics

Awesome...My love for Chekhov is quickly growing. All of these plays were really very good (as far as my limited knowledge of the art goes)...at least I found them entertaining. I can't pick a favorite because each one had its own merrit.

They all had something dark within them, and they all had some aspect of love as well. A great display of the human condition.

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Feb 07, 2011

Nicole rated it

I can certainly understand why Chekhov is considered one of the great authors of his era. However, I find it difficult to read plays as I find it hard to keep up with who is talking and I get tired of reading stage directions. Much prefer performances of plays rather than reading them.

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Apr 16, 2010

Charles rated it

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Shelves: plays

what I learned? i learned to enjoy reading that's what. not everything needs a car chase.

you should know: a lot of chekhov stuff is available free on stanza & kindle. online for that matter

i also recommend his short plays & short stories

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Dec 11, 2008

Kristie rated it

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I've only read "The Sea Gull" from this collection. Good stuff. Not many plays address the world of acting and play-writing, but Chekhov does it beautifully. Deep, good, read it.

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Apr 28, 2010

Steve rated it

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Shelves: drama

I'm ok with these, but I muc prefer Chekhov as a short story writer. His plays are so delicate, that you just know you're losing something due to the translations.

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Jan 08, 2010

Idiolalia added it

Plays: Ivanov; The Seagull; Uncle Vanya; Three Sisters; The Cherry Orchard (Penguin Classics) by Anton Chekhov (2002)

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May 19, 2009

Doug rated it

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Play after play ending with one or more of the characters going downstage and shooting themselves. Enough, already!

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Mar 08, 2009

Pats rated it

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tolstoy may have hated chekhov's plays, but tolstoy's a jerk. as somebody who prefers real footwear to sandals, i'll give "tony" a break. the man has a keen sense of irony. like any good russian writer. nothing says "funny" like spousal abuse (how contemporary) and mommy complexes.
but i am a little weary of all the blind praise for anton pavlovich.

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Dec 06, 2010

Christian Dabnor rated it

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OK, I'll be honest, I've only read The Cherry Orchard, but love the many subtleties of the play.

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Jul 05, 2010

Ayne Ray rated it

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Although "Ivanov" does not live up to the other works in this collection, the remaining four are classics of 19th century theatre, firmly cementing the reputation of this brilliant and powerful writer as one of the best of his time.

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Feb 16, 2010

George Dimitrov rated it

· review of another edition

I was just not able to finish reading the last 40pages. All 5 plays are very simular. After a wile I lost interest in keeping up with the names and the story line.

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Jun 26, 2009

Steven Salaita rated it

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Chekhov is one of the most talented playwrights ever to have produced the craft.

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Mar 07, 2011

Wonderkell rated it

· review of another edition

I particularly love 'The Sea Gull', 'Uncle Vanya' & 'The Cherry Orchard'.

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Jan 03, 2012

Silvergift rated it

· review of another edition

Excellent to read, and I hope to see them acted out one day.

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Jun 20, 2011

Benjamin Wallsten rated it

· review of another edition

Amazing! Stupendous! Russian literature at its finest!

I am always left wanting more from Chekhov (too bad his life was cut short by a disease we, ironically, can prevent today - it's oddly reminiscent of what one of the characters in Chekhov's "The Three Sisters" - Vershinin - is constantly saying about the future being better than the present). This volume simply enlarges that desire.

If you love Chekhov, you must read this book. It gives you the 5 major plays that ...more

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Sep 05, 2008

Amanda rated it

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Shelves: read-in-2008

I'm familiar with Russian literature's tendency to be humorously tragic. I didn't expect any more (or less) from Chekhov and wasn't disappointed. However, compared to his short stories, the plays in this book were somewhat lacking. They didn't have the blunt edge of wit that I loved about stories like Sleepy or Death of a Government Clerk. While critics can find humor in the Cherry Orchard, for me it's just not the same. It's still well-written (though the English doesn't come off as smoothly), ...more

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Jan 25, 2012

Ayat Mahmoud marked it as owned-2-read · review of another edition

Shelves: owned

From Azbakeya market for only 5 LE :D

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Jul 27, 2011

Cecelia added it · review of another edition

Wonderful collection

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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)

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