By J. Douglas Clayton, Yana Meerzon
This booklet considers the hundred years of re-writes of Anton Chekhov’s paintings, providing a large geographical panorama of Chekhovian affects in drama. the quantity examines the elusive caliber of Chekhov’s dramatic universe as an tricky mechanism, an engine within 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 speculation of dramatic model either as intermedial transformation (from web page to degree) and as intramedial mutation, from web page to web page, the book provides edition because the rising style of drama, theatre, and movie. This pattern marks the performative and social practices of the hot millennium, highlighting our epoch’s have to interact with the background 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 ends up in the rejuvenation of present dramatic and performative criteria, pioneering the production of recent traditions and expectancies. because the significant mode of the storytelling mind's eye, edition 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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Additional info for Adapting Chekhov: The Text and its Mutations
Un-ta, 2008. 75–86. Print. Esslin, Martin. ” A Chekhov Companion. Ed. Toby W. Clyman. Westport: Greenwood Press, 1985. 135–45. Print. Frye, Northrop. Anatomy of Criticism: Four Essays. New York: Atheneum, 1970. Print. Gilman, Richard. Chekhov’s Plays: An Opening into Eternity. New Haven: Yale UP, 1995. Print. Gottlieb, Vera. Chekhov and the Vaudeville. Cambridge: Cambridge UP, 1982. Print. Kuyl, Ivo. “The Objectivity of Parody. ” 1894: European Theatre in Turmoil. Ed. Hub. Hermanns, Wessel Krul, and Hans van Maanen.
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 . Pierrot in Petrograd: Commedia dell’arte/Balagan in Twentieth-Century Russian Theatre and Drama.
Chekhov’s plays constitute a radical break with this traditional comedic myth, which, as Frye points out, had shown extraordinary tenacity. He discards it for the simple reason that it does not correspond to his own observations of male–female behavior, and because he ﬁ nds it impossible to accept the premises upon which the traditional myth was founded: that love can be mutual, that it can happen instantaneously, and that it leads to happiness. 4 In an early letter that Chekhov wrote his brother Aleksandr at the age of twenty-three, he outlined his project for a thesis on what he called sexual authority.
Adapting Chekhov: The Text and its Mutations by J. Douglas Clayton, Yana Meerzon