Plays By Anton Tchekoff / First Series [Hardcover] Translated from the Russian with an Introduction by Marian Fell Pages 233 New York - Charles Scribner's Sons - 1916 Book is in great condition for its age. Anton Pavlovich Chekhov (Russian: Антон Павлович Чехов, 29 January 1860 – 15 July 1904) was a Russian short-story writer, playwright and physician, considered to be one of the greatest short-story writers in the history of world literature. His career as a dramatist produced four classics and his best short stories are held in high esteem by writers and critics. Chekhov practiced as a doctor throughout most of his literary career: "Medicine is my lawful wife", he once said, "and literature is my mistress." Chekhov renounced the theatre after the disastrous reception of The Seagull in 1896; but the play was revived to acclaim in 1898 by Constantin Stanislavski's Moscow Art Theatre, which subsequently also produced Uncle Vanya and premiered Chekhov's 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." Chekhov had at first written stories only for financial gain, but as his artistic ambition grew, he made formal innovations which have influenced the evolution of the modern short story. His originality consists in an early use of the stream-of-consciousness technique, later adopted by James Joyce and other modernists, combined with a disavowal of the moral finality of traditional story structure. He made no apologies for the difficulties this posed to readers, insisting that the role of an artist was to ask questions, not to answer them. Plays include: Uncle Vanya Uncle Vanya (Russian: Дядя Ваня – Dyadya Vanya) is a play by the Russian playwright Anton Chekhov. It was first published in 1897 and received its Moscow première in 1899 in a production by the Moscow Art Theatre, under the direction of Konstantin Stanislavski. Uncle Vanya is unique among Chekhov's major plays because it is essentially an extensive reworking of his own play published a decade earlier, The Wood Demon. By elucidating the specific changes Chekhov made during the revision process - these include reducing the cast-list from almost two dozen down to a lean nine, changing the climactic suicide of the The Wood Demon into the famous failed homicide of Uncle Vanya, and altering the original happy ending into a more problematic, less final resolution - critics such as Donald Rayfield, Richard Gilman, and Eric Bentley have sought to chart the development of Chekhov's dramaturgical method through the 1890s. Rayfield cites recent scholarship suggesting Chekhov revisited The Wood Demon during his trip to the island of Sakhalin, a prison colony in Eastern Russia, in 1891. Ivanoff The play tells the story of Nikolai Ivanov, a man struggling to regain his former glory. For the past five years, he has been married to Anna Petrovna, a disinherited 'jewess', who has become very ill. Ivanov's estate is run by a distant relative, Mikhail Borkin, who is frequently advising people on how he can help them make money. The doctor, Lvov, an 'honest' man as he frequently reminds the rest of the cast, informs Ivanov that his wife is dying of Tuberculosis, and that she needs to recover by going to the Crimea. Unfortunately, Ivanov is unable, and unwilling, to pay for the trip. He is heavily in debt and already owes Zeenaeda Saveshna 9000 roubles. Ivanov is criticised for heartlessness and for spending time with the Lyebedevs instead of his seriously ill wife. At the end of Act One, Ivanov departs to visit there, and unbeknown to him is followed by Anna and Lvov. Act Two shows a party at Lyebedev's, and features various people discussing Ivanov. They say his only motive for marrying Anna was for the large dowry, however, when she married him, she was forced to convert from Judaism to Russian Orthodox and was disowned. Lyebedev is married to Saveshna, who manages his money lending, and they have a daughter, Sasha, who is infatuated with Ivanov. She throws herself at Ivanov and he is unable to resist: the act concludes with the two kissing. Unfortunately, Anna arrives unexpectedly at just this moment and witnesses the betrayal. Act Three shows a number of conversations between Ivanov and other members of the cast - Lyebedev begs Ivanov to repay his debts, and Lvov confronts Ivanov once again about the heartless way he treats Anna. Sasha then appears, concerned by Ivanov's refusal to visit since the incident at the end of Act Two. The act then ends with Anna confronting Ivanov about Sasha's visit, and about how he has lied and cheated on her for the entirety of their marriage. Ivanov's anger is aroused by the false accusation and in a fit of anger he finally reveals to her that she is dying. Act Four occurs around a year after the previous acts. Anna has died, and Ivanov and Sasha are preparing to marry. As the wedding is about to begin, Lvov appears, planning to unveil Ivanov's 'evil' intentions - believing Ivanov is simply marrying Sasha for the dowry. He makes the accusation publicly and even though other characters have previously expressed doubts they all leap to Ivanov's defence and challenge Lvov to duels. Ivanov finds the whole situation amusing, returning to his old self, and takes out his gun. Sasha realises what he is about to do, but is unable to stop him: Ivanov runs to the side of the stage and shoots himself, bringing the play to an end. The Sea-Gull The Seagull (Russian: Чайка, Chayka) is the first of what are generally considered to be the four major plays by the Russian dramatist Anton Chekhov. The Seagull was written in 1895 and first produced in 1896. It dramatises the romantic and artistic conflicts between four characters: the ingenue Nina, the fading actress Irina Arkadina, her son the symbolist playwright Konstantin Tréplev, and the famous middlebrow story writer Trigorin. As with the rest of Chekhov's full-length plays, The Seagull relies upon an ensemble cast of diverse, fully developed characters. In contrast to the melodrama of the mainstream theatre of the 19th century, lurid actions (such as Konstantin's suicide attempts) are not shown onstage. Characters tend to speak in ways that skirt around issues rather than addressing them directly; in other words, their lines are full of what is known in dramatic practice as subtext, or text that is not spoken aloud. The opening night of the first production was a famous failure. Vera Komissarzhevskaya, playing Nina, was so intimidated by the hostility of the audience that she lost her voice. Chekhov left the audience and spent the last two acts behind the scenes. When supporters wrote to him that the production later became a success, he assumed that they were merely trying to be kind. When Constantin Stanislavski, the seminal Russian theatre practitioner of the time, directed it in 1898 for his Moscow Art Theatre, the play was a triumph. Stanislavski's production of The Seagull became "one of the greatest events in the history of Russian theatre and one of the greatest new developments in the history of world drama." and The Swan Song

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