The Seagull in the context of "The Cherry Orchard"

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⭐ Core Definition: The Seagull

The Seagull (Russian: Ча́йка, romanized: Cháyka) is a play by Russian dramatist Anton Chekhov, written in 1895 and first produced in 1896. The Seagull is generally considered to be the first of his four major plays. It dramatizes the romantic and artistic conflicts between four characters: the famous middlebrow story writer Boris Trigorin, the ingenue Nina, the fading actress Irina Arkadina, and her son the symbolist playwright Konstantin Treplev.

Like Chekhov's other full-length plays, The Seagull relies upon an ensemble cast of diverse, fully-developed characters. In contrast to the melodrama of mainstream 19th-century theatre, lurid actions (such as Konstantin's suicide attempts) are not shown onstage. Characters tend to speak in subtext rather than directly. The character Trigorin is considered one of Chekhov's greatest male roles.

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👉 The Seagull in the context of The Cherry Orchard

The Cherry Orchard (Russian: Вишнёвый сад, romanizedVishnyovyi sad) is the last play by the Russian playwright Anton Chekhov. Written in 1903, it was first published by Znaniye (Book Two, 1904), and it appeared as a separate edition later that year in Saint Petersburg via A.F. Marks Publishers. On 17 January 1904, it opened at the Moscow Art Theatre in a production directed by Konstantin Stanislavski. Chekhov described the play as a comedy, with some elements of farce, though Stanislavski treated it as a tragedy. Since its first production, directors have struggled with its dual nature. It is often identified as one of the four outstanding plays by Chekhov, along with The Seagull, Three Sisters, and Uncle Vanya.

The play revolves around an aristocratic Russian landowner who returns to her family estate, which includes a large and well-known cherry orchard; she returns just before the estate is auctioned to pay the mortgage. Unresponsive to offers to save the estate, she allows its sale to the son of a former serf, and the family departs to the sound of the cherry orchard being cut down. The story presents themes of cultural futility – the attempts of the aristocracy to maintain its status, and the attempts of the bourgeoisie to find meaning in its newfound materialism. The play dramatizes the socioeconomic forces in Russia at the turn of the 20th century; these forces include the rise of the middle class after the abolition of serfdom in the mid-19th century, in addition to the decline in power of the aristocracy.

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The Seagull in the context of Anton Chekhov

Anton Pavlovich Chekhov (/ˈɛkɒf/; Russian: Антон Павлович Чехов, IPA: [ɐnˈton ˈpavləvʲɪtɕ ˈtɕexəf]; 29 January 1860 – 15 July 1904) was a Russian playwright and short-story writer, widely considered to be one of the greatest writers of all time. His career as a playwright produced four classics, and his best short stories are held in high esteem by writers and critics. Along with Henrik Ibsen and August Strindberg, Chekhov is often referred to as one of the three seminal figures in the birth of early modernism in the theatre. Chekhov was a physician by profession. "Medicine is my lawful wife," he once said, "and literature is my mistress."

Chekhov renounced the theatre after the reception of The Seagull in 1896, but the play was revived to acclaim in 1898 by Konstantin Stanislavski's Moscow Art Theatre, which subsequently also produced Chekhov's Uncle Vanya and premiered his last two plays, Three Sisters and The Cherry Orchard. These four works present a challenge to the acting ensemble as well as to audiences, because in place of conventional action Chekhov offers a "theatre of mood" and a "submerged life in the text." The plays that Chekhov wrote were not complex, and created a somewhat haunting atmosphere for the audience.

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The Seagull in the context of Moscow Art Theatre production of The Seagull

The Moscow Art Theatre production of The Seagull in 1898, directed by Konstantin Stanislavski and Vladimir Nemirovich-Danchenko, was a crucial milestone for the fledgling theatre company that has been described as "one of the greatest events in the history of Russian theatre and one of the greatest new developments in the history of world drama." It was the first production in Moscow of Anton Chekhov's 1896 play The Seagull, though it had been performed with only moderate success in St. Petersburg two years earlier. Nemirovich-Danchenko, who was a friend of Chekhov's, overcame the writer's refusal to allow the play to appear in Moscow after its earlier lacklustre reception and convinced Stanislavski to direct the play for their innovative and newly founded Moscow Art Theatre (MAT). The production opened on 29 December [O.S. 17 December] 1898. The MAT's success was due to the fidelity of its delicate representation of everyday life, its intimate, ensemble playing, and the resonance of its mood of despondent uncertainty with the psychological disposition of the Russian intelligentsia of the time. To commemorate this historic production, which gave the MAT its sense of identity, the company to this day bears the seagull as its emblem.

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The Seagull in the context of Three Sisters (play)

Three Sisters (Russian: Три сeстры́, romanizedTri sestry) is a play by the Russian author and playwright Anton Chekhov. It was written in 1900 and first performed in 1901 at the Moscow Art Theatre. The play is often included on the shortlist of Chekhov's outstanding plays, along with The Cherry Orchard, The Seagull and Uncle Vanya.

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The Seagull in the context of Olga Knipper

Olga Leonardovna Knipper-Chekhova (Russian: О́льга Леона́рдовна Кни́ппер-Че́хова; 21 September [O.S. 9 September] 1868 – 22 March 1959) was a Russian and Soviet stage actress. She was married to Anton Chekhov.

Knipper was among the 39 original members of the Moscow Art Theatre when it was formed by Konstantin Stanislavski in 1898. She played Arkadina in The Seagull (1898), played Elena in the Moscow premiere of Uncle Vanya (1899), and was the first to play Masha in Three Sisters (1901) and Madame Ranevskaya in The Cherry Orchard (1904). She married Anton Chekhov, the author of these plays, in 1901. She played Ranevskaya again in 1943, when the theatre marked the 300th performance of The Cherry Orchard.

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