Staging of the play "Cherry Orchard" on the national stage. The Cherry Orchard

Sharp disputes about the genre of "The Cherry Orchard", disagreements between the author and the theater arose already during the preparation the first performance at the Moscow Art Theater... The theater's perception of the play alerted the author - as can be seen from the correspondence with O.L. Knipper, who noted, among other things, that Stanislavsky "roared all over the place" over the play. Stanislavsky, as follows from his letter to Chekhov dated October 22, 1903, insisted that "this is not a comedy, not a farce, as you wrote, this is a tragedy ...". Chekhov also did not like the rehearsals he attended in December 1903. Not only the genre shift of the play towards the "heavy drama of Russian life," but also the unbearable lengths irritate Chekhov. Nemirovich-Danchenko in his memoirs about the first production of The Cherry Orchard, which took place January 17, 1904, admitted that there was a "misunderstanding of Chekhov" - the delicate fabric of the work "the theater took with too rough hands."

The author's dissatisfaction, his own dissatisfaction forced the theater to continue working on the play. According to Nemirovich, over time, the performance got rid of precisely those shortcomings that Chekhov pointed out, but nevertheless, a complete transfer of the "author's worldview" did not happen. The growing success of the performance was evidenced by press reviews of the tour in St. Petersburg, as well as the growing popularity of the play among the provincial theater.

In 1928 g. Moscow Art Theater renewed "The Cherry Orchard", wanting to prove that Chekhov is close to a new time. In accordance with the requirements of the moment, the satirical features in the image of Gaev were strengthened, but the desire to saturate the performance with historical optimism - evidence of this intention is the well-known lines from "My Life in Art", where Stanislavsky wants to give Lopakhin "the scope of Chaliapin", and Anya - "temperament Ermolova "and shout to the whole world" Hello, new life! " - had no practical implementation. Meanwhile, the Moscow Art Theater tradition of the elegiac performance of "The Cherry Orchard" was firmly entrenched, and therefore could not but arouse denial at the height of the "sociological reevaluation" of Chekhov in the thirties.

The staging of The Cherry Orchard by A.M. Lobanov at the Studio Theater under the leadership of R.N. Simonov in 1934. The director said: "I am for Chekhov, but against the Moscow Art Theater." Lobanov did not see any fundamental difference between the characters in the play: everyone was equally absorbed by the vaudeville bourgeois environment, Trofimov in the play made us recall the Gorky characterization of the “trashy student” who “speaks redly”: he recited in the bathhouse in front of the gymnasium students (this was the interpretation of the replica “Sex talk about decadents! "). Anya, first of all, according to Chekhov, the "child" turned into a girl who "condemned her mother and rather evil gossip about her", the "attraction of the aging Ranevskaya to the young footman" was emphasized (Yasha turned out to be Ranevskaya's lover, sang chansonnets and danced the cancan) ... And Firs was dying, "doing some kind of difficult physical exercise." The play, as one would expect, caused a stormy controversy - the critic Y. Yuzovsky spoke in defense of the director, but he also recognized the influence of vulgar sociological concepts on the director.

I saw the theme of the death of culture in the play A. V. Efros in a vivid interpretation of the play staged at the Taganka Theater in 1975. In the scenography V.Ya. Leventhal, this reading was expressed in the transfer of the action to the cemetery. Everyone in the performance yearned for beauty, and especially the unusual Lopakhin - V.S. Vysotsky, but they could not comprehend it to the end and save it. The actor, as it were, reminded the viewer of Chekhov's words about an intelligent person, about Lopakhin's “thin, like an artist's” fingers, who painfully wants to join the inaccessible world of culture and cannot. The words at the end of Act III "Who bought?" - “I bought” at the play sounded like: “Who killed?” - "I killed". In his "drunken dance" Lopakhin-Vysotsky tried to drown the feeling so completely and unconscious of guilt.

Unusual for Theater of Satire, "The Cherry Orchard" by V.N. Pluchek (1984) with unconventional, enlightened images of Gaev (A.D. Papanov) and Lopakhin (A.A.Mironov). The garden in the play bifurcated - the ugly cherry trees fell to Lopakhin, but an elusive ghost garden, a memory garden, a dream garden appeared above the stage in the play of light. Such readings were undoubtedly influenced by the emerging research on the semantics of the image of the garden in Chekhov. The tragic tonality prevailed in the production of I.V. Ilyinsky on the stage of the Maly Theater (1982). The performances of G.B. Volchek at the Sovremennik Theater(1976 and 1997) differed in tone - the latter raised the tone of the performance, made Chekhov "energetic." Ranevskaya M.M. became broken, nervous, suddenly passing from laughter to tears in the new production. Neelova.

In the post-war foreign theater "The Cherry Orchard" becomes one of Chekhov's most popular plays. The Chekhov director, following Pitoev in France, is Jean-Louis Barrot, who directed The Cherry Orchard, at the theater "Odeon" translated by Jacques Neve in 1954. It was from this performance that the tradition of perceiving the play as a parable about the relationship between man and time began. The director said about his “motto”: “About a person. Through a person. In the name of man. " The performance became an event in the cultural life of France not only thanks to the excellent performance of Madeleine Renaud - Ranevskaya and other performers, but also thanks to a serious philosophical approach to the Russian author, who discarded abstract cliché notions about "Slavic melancholy" and "Russian soul".

However, the most famous groundbreaking interpretation of the play in modern Western theater is the production of Giorgio Strehler at the theater "Piccolo di Milano"... The director concludes that the time has come to present The Cherry Orchard "more universal, more symbolic, more open to fantasy." Strehler put forward an original concept for the play, calling it the "three-box problem." Three boxes, nested one inside the other, reflect the relationship between the three temporal dimensions of the play: real time - the life of Ranevskaya and Gaev, historical time, where events are seen as if from the outside, and philosophical time. The third casket - the casket of Life gives the action a generalized symbolic sound. In Strehler's performance, the main character was the Cherry Orchard, decided conventionally and metaphorically, in the form of a dome hovering above the stage (the performance was designed by Joseph Svoboda). Since then, the semantics of white has been extremely interesting for the direction of the Chekhov theater. The hagiographic plan of the production was also emphasized by individual mise-en-scenes and symbolic objects. So, Ranevskaya, according to Strehler, returns not just home, but into childhood - children's toys were thrown out of the "respected closets" here.

The theme of the loss of culture, seen in the loss of the cherry orchard, came to the fore in another famous performance - directed by Peter Brook at the Theater "Bouf du Nord" in Paris in 1980 Narrative, philosophical, lasting every minute of the stage life was Peter Stein's "The Cherry Orchard", shown in Moscow in 1991... Critics noted that for the director “nobody died. All are alive - Chekhov, Stanislavsky, and the centenary Firs. "

HISTORY OF CREATION

The time of the creation of the work. The play was written at the very beginning of the twentieth century (1903), during the period of reassessment and rethinking of established values ​​and old traditions. Three "revolutions" of the 19th century prepared a sense of catastrophe, which was described in art and felt by contemporaries: biological (Darwinism), economic (Marxism), and philosophical (the teachings of Nietzsche).

The Cherry Orchard is the last play by A. Chekhov. This is the writer's symbolic farewell to life. He created it as an epilogue to his own life and as an epilogue to Russian literature - the golden age of classical Russian literature actually ended, the silver age began. The work contains elements of both tragedy (a metaphor for the end of life) and comedy (the characters are depicted in a parody). The main event in the life of theatrical Moscow. The play "The Cherry Orchard" was the first absolute success of Chekhov, a playwright. It was written in 1903, and already in January 1904 the first production took place at the Moscow Art Theater.

This work formed the basis of a new drama. It was Chekhov who was the first to realize that the old theatrical techniques were outdated. The nature of the conflict, the characters, Chekhov's drama - all this was unexpected and new. There are many conventions (symbols) in the play, and they should be interpreted on the basis of the author's definition of the genre - “comedy in four acts”. This play became a classic of Russian theater and is still relevant today. It manifested the artistic discoveries of the playwright, which laid the foundation for modernism in the literature and drama of Russia. At the end of the piece they knock with an ax and the string snapped. Chekhov says goodbye to the old Russian life, and to the landlord's estate, and to the Russian landowner. But, above all, it is imbued with the mood of the writer's farewell to life.

At the end of the play, all of her characters disperse, having forgotten the old servant Firs in the closed house - they all have no time for him. Both kind Petya and romantic Anya forgot about Firs. Chekhov's innovation. There is no main character in the play. If in the classical drama the hero manifested himself in actions, then in Chekhov's - the characters manifest and reveal themselves in experiences (the pathos of action was replaced by the pathos of reflection). The author actively uses directions that form subtext: silence, silence, pause. A new form of conflict: “People are having lunch, drinking tea, and at this time their destinies are being broken” (A. Chekhov).

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WHY THE PIECE IS CALLED "CHERRY GARDEN"

The central image of the play is shown in the title of the work. The whole action takes place around the cherry orchard: sometimes the events themselves unfold there, the characters are constantly talking about him, they are trying to save him, he unites all the heroes of the work.

Small homeland is a secluded corner of nature, the ancestral nest of Ranevskaya and Gaev, in which they spent their childhood and youth. Such places become part of the person himself. The symbol of beauty - the cherry orchard - is something beautiful and delightful, a beauty that always affects the souls of people and their emotional state. The symbol of the passing time is the departure of the nobility from the life of Russia.

Smart and educated people are unable to preserve the garden, that is, their way of life and way of life. In the play, a garden is cut down, and in life, noble nests are disintegrated. "All Russia is our garden." These are the words of one of the characters in the play - Petya Trofimov. The Cherry Orchard is a symbol of the future of Russia, reflections on the fate of the entire country. Will the younger generation be able to grow a new blooming garden? This question remains open in the play.

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GENRE PLAYS

The plot is the sale of a cherry orchard, owned by the ruined noblemen Ranevskaya and Gaev, brother and sister. The new owner of the garden is the merchant Lopakhin, the grandson of a serf who used to work on this estate.

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GENRE FEATURES

A. Chekhov himself called "The Cherry Orchard" a comedy not for genre definition. Thus, the author noted that the play should be performed as a comedy. If you play it like a drama or a tragedy, the intended dissonance will not work, and the deep meaning of the work will be lost. There are indeed a lot of comedic moments, situations, characters, lines in the play. "The Cherry Orchard" has the structure of a musical piece - the play is built on leitmotifs, musical techniques, repetitions are used, the sound of a broken string appears twice. There are many tears in the play, but the author noted that these are frivolous tears, you can laugh at them. Chekhov's funny is intertwined with the sad, the comic with the tragic - everything is like in real life. The heroes, on the other hand, resemble sad clowns. “What came out of me was not a drama, but a comedy, sometimes even a farce” (A. Chekhov).

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LYUBOV ANDREEVNA RANEVSKAYA

Once a wealthy noblewoman Ranevskaya went to Paris, had a dacha in the south of France, at balls in her house "generals, barons, admirals danced." Now the past appears to her as a blossoming cherry orchard. She cannot adapt to new conditions - she continues to waste money, showing lordly carelessness in everything. "She is good, kind, glorious ..." - says her brother Gaev about her. “She's a good person. Easy, simple ... ", - says about Ranevskaya Lopakhin. He admits with delight: "My father was a serf with your grandfather and father, but you, in fact, did so much for me that I forgot everything and love you as my own ... more than my own." Ranevskaya is loved by Anya and Varya, the landowner-neighbor Simeonov-Pischik, and Petya Trofimov, and the servants. She is equally affectionate, generous and kind to everyone. But all positive qualities, combined with carelessness, spoiledness and frivolity, often turn into their opposite - cruelty and indifference. Ranevskaya generously gives a random passerby gold, but there is nothing to eat at home. Lyubov Andreevna invites the orchestra to the ball, unable to pay the musicians. Frivolity and inability to live independently appeared thanks to the serfs, who did all the work on her estate. She says that she cannot live without a cherry orchard, but the garden is sold, and she is arranging an inappropriate ball in the house. Ranevskaya is emotional and inconsistent in her actions. In the first act, she decisively tears up, without even reading, the telegrams from Paris. In the future, the heroine no longer does this, and in the finale of the play, calmed and cheerful, she willingly returns to Paris to her former lover who had tortured her, leaving Varya and Anya without money, forgetting about Firs. Love for her is the most important thing in life (the name and surname were given for a reason - the heroine is impressionable, sensitive and vulnerable). At first she insisted that Paris was over forever. But when the Yaroslavl aunt sent the money, it turned out that they were not enough to save the estate, but enough to return to Europe. The nobility of Ranevskaya is that she does not blame anyone for the misfortunes that befell her. And no one reproaches Lyubov Andreevna for the fact that she actually led to the complete collapse of the family estate.

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LEONID ANDREEVICH GAYEV

Gaev is the embodiment of the image of a pathetic aristocrat. He himself admits: "They say that I ate all my fortune on candy." Gayev can be called an over-aged baby: he is 51 years old, and a footman, who is already 87, undresses him before bed. Leonid Andreevich is used to an idle life. He has two passions - playing billiards and making passionate speeches (it is no coincidence that the surname Gaev is so consonant with the word gaer, which means a jester; the one who clowns, makes faces for the amusement of others). He looks like a parody of an educated nobleman. he has a special speech, replete with billiard terms, a characteristic word - "who?" Worthlessness, laziness, idle talk and self-conceit are the main features of this personality. Anya says to Gaev: "Everyone loves you, respects you ... How good you are, uncle, how smart!" But Chekhov casts doubt on this opinion. Along with the lordly grace and sensitivity in Gayev, lordly arrogance and arrogance are noticeable. Leonid Andreevich is convinced of the exclusivity of the people of his circle ("white bone") and every time he lets others feel his position as a master. He is gentle with his family, but contemptuously - squeamish with the servants ("Get away, my dear, you smell like chicken" - he says to Yasha. "You are tired, brother" - Firs). He considers "grimy" Lopakhin a boor and a fist. But at the same time Gaev is proud of his closeness to the people, asserts: "It is not for nothing that a man loves me." At the beginning of the play, he swears on honor that the cherry orchard will not be sold. But Lopakhin buys the garden, and no one remembers his empty promises and words. Gaev and Ranevskaya rejected Lopakhin's offer, but they themselves could not save their estate. This is not only the frivolity and impracticality of the ruined nobles, it is the idea that the nobility is not able, as before, to determine the path of development of the country. Their heightened sense of beauty does not allow making a commercial enterprise out of a poetic cherry orchard. The actions of the characters demonstrate to the viewer that it is impossible to trust the words of the landowners, spoken even sincerely and excitedly. Returning from the auction at which the cherry orchard was sold, Gaev does not hide his tears. However, his tears instantly disappear as soon as he hears the blows of the cue. This proves that deep experiences are alien to him.

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The former serf Gaeva and Ranevskaya became the new owner of the cherry orchard. In the recent past, his ancestors were serfs who worked on the estate, "his grandfather and father were slaves," "they were not even allowed into the kitchen." Lopakhin exclaims: "If my father and grandfather stood up from the graves and looked at the whole incident, like their Yermolai, the beaten, illiterate Yermolai, who ran barefoot in winter, like this same Yermolai bought an estate, which is the most beautiful in the world." Yermolai managed to get out of poverty and achieve material well-being without outside help. he has many positive traits: he remembers the goodness of Ranevskaya, is hardworking ("You know, I get up at five o'clock in the morning, I work from morning to evening ..."), friendly, "a man of the greatest mind," as Pischik says about him. The enterprising merchant has a lot of energy and acumen. His hard work and perseverance were formed in difficult living conditions, and they tempered his purposeful nature. Lopakhin lives for today. His ideas are rational and practical. He correctly assesses the position of Ranevskaya and Gaev, gives them very valuable advice. If they accepted the offer to break the cherry orchard into summer cottages and lease the land, they could save their estate and get out of a difficult financial situation. The characters have different attitudes towards Lopakhin. Ranevskaya considers him a good, interesting person, Gaev is a boor and a fist, Simeonov-Pischik is a man of great intelligence, and Petya Trofimov compares him to a beast of prey. This contradictory perception of Lopakhin reflects Chekhov's attitude towards him. A fashionably dressed and successful businessman lacks culture and education, and he himself often feels inferior. Business acumen etched spirituality in him (Chekhov notes the predatory nature of capitalism). By contributing to the economic progress of the country, the lopakhins are unlikely to be able to eliminate poverty, injustice, lack of culture, because in the first place they have personal interest, profit and profit. The knock of the ax cutting down the cherry orchard symbolizes the transition from the past to the present. And the future looks great when the younger generation plants and grows their new garden.

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SECONDARY CHARACTERS

Supporting characters participate in the play along with the main characters. They often repeat the thoughts of the main characters. In addition, the author put thoughts that are important for understanding the play into their mouths. The governess Charlotte Ivanovna turns everything serious into funny. With her tricks and ventriloquism, she emphasizes the comedic nature of what is happening. She owns the phrase that any character could express: “where I am from and who I am - I don’t know ...” Servants Yash and Dunyasha are ridiculous in their desire to be like masters in everything. In fact, these are images of Ranevskaya and Gaev brought to the grotesque. Dunyasha always powders herself, declares that she "has become tender, so delicate" and is very reminiscent of Ranevskaya. Cheeky Yasha, accusing everyone of ignorance, is a recognizable parody of Gaev. The old servant Firs personifies the "old life", "the old order." He rarely appears in the play, nevertheless he plays a significant role - he is entrusted with the final monologue. In the image of Firs, those features are emphasized that his owners are deprived of: solidity, thrift.

Chekhov dislikes Gaev, who has nothing left in his head except the rules of billiards. Lopakhin, a representative of the newly born Russian capitalism, piques his curiosity. But the author does not accept pragmatic people, it is obvious to him that nothing will come of the smug Lopakhin. (Everything is miraculously arranged for non-pragmatic characters: for example, a rare white clay was suddenly found in Simeonov-Pishchik's estate, and he received money for his rent in advance). Ermolai Lopakhin is waving his arms all the time, Petya gives him advice: “Get out of this habit of waving. And, too, to build summer cottages, to expect that individual owners will eventually come out of summer residents, to count like this is also to wave ... ”Lopakhin has Napoleonic plans, but, according to the author, they are not destined to come true. This is a temporary character, other times will come and the lopakhins, having done their job, will pass. Chekhov's sympathies are on the side of Petya and Anya. The eternal student Trofimov is ridiculous (pitiful galoshes, falls down the stairs), but he gets Anya's love.

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PAST, PRESENT AND FUTURE OF RUSSIA

The Cherry Orchard is often called a work about the past, present and future of Russia. The past - Ranevskaya and Gaev. They live with memories, they are not satisfied with the present, and they do not even want to think about the future. These are educated, refined people, full of inactive love for others. When they are in danger, the heroes behave like children who close their eyes in fear. Therefore, they do not accept Lopakhin's proposal to save the cherry orchard and hope for a miracle, without even trying to change anything. Ranevskaya and Gaev are not able to be the masters of their land. Such people cannot influence the development of their country. The present is Lopakhin. Smug Lopakhin is a bright representative of the nascent bourgeoisie in Russia. Society has high hopes for people like him. The hero feels like the master of life. But Lopakhin remained a “peasant”, unable to understand that the cherry orchard is not only a symbol of beauty, but also a kind of thread that connects the past with the present. You can't cut your roots. And Yermolai recklessly destroys the old, not having built and having no plans to build something new. It cannot become the future of Russia, because it destroys beauty (cherry orchard) for its own benefit. The future is Petya and Anya. It cannot be said that the future belongs to a 17-year-old girl, full of only strength and desires to do good. Or behind an eternal student, a ridiculous "shabby gentleman" (his whole appearance is rather pathetic), who is trying to reorganize life on the basis of only vague ideas. Chekhov does not see a hero in Russian life who would become the real master of the cherry orchard. The question in the play remains open. Chekhov sees that there is no connection between times (a broken string is a symbol of a gap between generations). But Anya and Petya have to look for an answer, because so far there is no one else but them.

Dawn. Outside the window is a blooming cherry orchard.

Lyubov Andreevna Ranevskaya returns to her estate from Paris with her daughter Anya. The day is spent talking with family and guests. Everyone is excited by the meeting, they speak without listening to each other.

In a confidential conversation with Varya, Ranevskaya's adopted daughter, Anya learns that the merchant Lopakhin, who is considered to be Varya's fiancé, never made an offer, and this event is not expected. Anya complains about the eternal lack of money in Paris and her mother's misunderstanding of the situation: she thoughtlessly scatters the last money, orders the most expensive in restaurants, gives the lackeys a ruble for tea. In response, Varya says that there is money here too.
no, moreover, the estate will be sold in August.

Petya Trofimov is still in the estate. This is a student, a former tutor of the late son of Ranevskaya, Grisha, who drowned at the age of seven in the river. Anya, having learned about Petya's presence, is afraid that the sight of the latter will evoke bitter memories in her mother.

Old footman Firs appears, puts on white gloves and begins to set the table.

Enter Lubov Andreevna, her brother Leonid Andreevich Gaev and Lopakhin. The merchant had to leave at five o'clock, but he wanted so much to look at Lyubov Andreyevna, to talk to her, she is still just as magnificent.

His father was a serf to her father, but she once did so much for him that he forgot everything and loves her more than his own. Ranevskaya is happy to return home. Gayev, telling her the news, from time to time pulls out a box of candies from his pocket and sucks. Lopakhin says that the estate is being sold for debts, and offers to divide this land into summer cottages and lease them.

Then they will have twenty-five thousand income a year. True, the old buildings will have to be demolished and the garden cut down. Lyubov Andreevna categorically objects: the garden is the most wonderful place in the whole province.

According to Lopakhin, they have no other way out, the only wonderful thing about the garden is that it is very large, and a cherry is born every two years, and no one buys that one either. But Firs remembers that in the past, dried cherries were transported by carts to Moscow and Kharkov, they helped out a lot of money. Varya gives her mother two telegrams from Paris, but the past is over, and Lyubov Andreyevna tears them up. Gaev, changing the subject,
turns to the closet, which is a hundred years old, and begins to make a sentimental, high-flown speech, bringing himself to tears. The sister sums it up. that he is still the same, Gaev is embarrassed. Lopakhin reminds that if they decide about summer cottages, he will lend money and leave. Lyubov Andreevna and Leonid Andreevich admire the garden, remember their childhood.

Petya Trofimov enters in a shabby student's uniform. Lyubov Andreevna hugs him, cries. and, looking closely, asks why he has grown so old and ugly, and after all he was once a sweet student. Petya says that in the carriage one woman called him a shabby gentleman and, probably, he will be an eternal student.

Gaev and Varya remain in the room. Gaev notices that her sister has not yet lost the habit of wasting money. he has a lot of ideas on how to improve matters: it would be nice to get an inheritance, it would be nice to marry Anya to a very rich man, it would be nice to go to Yaroslavl and ask for money from his aunt-countess. The aunt is very rich, but does not like them: firstly, Ranevskaya married a faithful juror, not a nobleman, and secondly, she did not behave very virtuous.

Lyubov Andreevna is kind, glorious, but she is vicious. Then they notice that Anya is standing in the doorway. The uncle kisses her, the girl reproaches him for the last words and asks him to be silent, then he himself will be calmer. He agrees and excitedly changes his plans to save the estate: it will be possible to arrange a loan against promissory notes in order to pay interest to the bank, Anya's mother will talk to Lopakhin, he will not refuse her, and Anya will rest and go to her grandmother in Yaroslavl. That’s how it’s going to work out. He swears that he will not allow the estate to be sold. Anya
reassured you and, happy, hugs your uncle. Firs appears, reproaches G Aev, that he had not yet gone to bed, and everyone left.

The play "The Cherry Orchard" by Igor Ilyinsky became the first production in the history of the Maly Theater based on the play of the same name by Anton Chekhov. Previously, the works of the great playwright did not enjoy the interest of this theater. Igor Ilyinsky tried to get as close as possible to the author's reading of the play as a comedy (comedy of life), where human fate was decided behind ridiculous and, at first glance, meaningless conversations. The heroes had fun, pretending that they did not notice how their lives were crumbling, their past was being erased into dust. The play brought to the fore the image of the cherry orchard as a symbol of dreams and dreams, something unattainably beautiful, without which human life is impossible and meaningless. The garden literally filled the stage space, its snow-white branches visible through the wide-open windows.

The landowner Lyubov Andreevna Ranevskaya (Tatyana Eremeeva) returns from Paris to her family estate, which was on the verge of ruin. The main value of this estate is a magnificent cherry orchard as a memory of family, childhood and home. Ranevskaya had not been to her homeland for more than five years, trying to overcome the longing for her early deceased son, who drowned in a pond not far from the estate. And therefore, for her, coming home is both joyful and anxious. Everything reminds of a tragic event and foreshadows a bleak end. But it is here that Ranevskaya feels warmth and comfort, the joy of meeting her relatives and family garden. “I love my Motherland, I love it dearly,” she says. But the estate, along with the garden, goes under the hammer to a wealthy merchant Lopakhin (Viktor Korshunov), secretly in love with Ranevskaya, who once saved him, still a boy, from his father's beatings.

The garden was sold to Lopakhin, a man of advanced views, businessman and master of the new era. He is going to cut down the cherry orchard and build summer cottages in its place. And this means that Ranevskaya, her brother Gaev (Nikolai Annenkov), two daughters - Anya (Elena Tsyplakova) and Varya (Lyudmila Pirogova) - say goodbye to the past forever. What awaits them in the future is unknown. Guests are having fun in the estate to music, congratulating the new owner, and the former owners froze in tense anticipation. Ranevskaya Lopakhin, regular guest Epikhodov (Vladimir Dubrovsky) and the maid Dunyasha (Olga Titayeva) at the beginning of the first act, await Ranevskaya Lopakhin in the same alarming tension.

In the performance of the Maly Theater, the episodic hero became the central figure - the old and decrepit servant Firs, played by Igor Ilyinsky himself. He - as the main keeper of the hearth - took care of the estate in a businesslike manner. There is no servility or servility in him, he is full of self-esteem, calmness and confidence. And he is the only one, like the captain of a sinking ship, who does not leave his home when the windows are boarded up and a lock is hung on the door. One of the critics called Firs performed by Ilyinsky "King Lear of the Russian estate." An era is leaving with him.

In Ilyinsky's play, the conflict was not limited to a clash of people of the old and new generations, but consisted in the presence or absence of striving for something higher than ordinary reality. After all, the thoughts of Ranevskaya-Eremeeva were all this time far from worries about the estate. She thinks about the lover she left in Paris. This humiliating and bitter love torments her, but she does not have the strength to cope with it. In a dispute with Petya Trofimov, Anya's fiancé, she defends her rights as a loving and suffering woman. But the sale of the estate frees Ranevskaya from worries, no matter how sublime the memories are. Likewise, Gaev-Annenkov, a lazy man and a rhetoric, divorced from reality, internally feels relief from the sale of the estate, which was too much of a burden for him. He protects the estate from Lopakhin, primarily guided by aesthetic considerations: a cherry orchard is more attractive than dachas. However, he easily comes to terms with his fate. Unlike Ranevskaya and Gaev, Lopakhin is a man of action. But he also strives for beauty, for beauty, the embodiment of which for him was Ranevskaya. The sisters also look at the sale of the estate in different ways: Varya is frightened by the impending disorder, Anya is full of hopes, faith in a new life.

Speaking about the work of A.P. Chekhov, his small humorous stories, filled with deep meaning and often tragedy, immediately come to mind, and for theater-goers he, first of all, is one of the most outstanding playwrights of the late 19th - early 20th centuries. Chekhov's play "The Cherry Orchard" was the last in his work. Written in 1903, it was staged on the stage of his beloved Moscow Art Theater in 1904 and was the result of reflections on the fate of Russia. Those who do not have time to read the entire play by A.P. Chekhov's "The Cherry Orchard" a summary of the actions will help you get acquainted with this work.

Critics called the play "The Cherry Orchard" by Anton Pavlovich Chekhov a drama, and the writer himself believed that there was nothing dramatic in it, and that, first of all, it was a comedy.

main characters

Ranevskaya Lyubov Andreevna- a landowner who left her estate after the tragic death of her son. A lonely woman of middle age, prone to rash and frivolous actions, living in an ideal world, unwilling to accept reality that could hurt her.

Anya- seventeen-year-old daughter of Ranevskaya. A young, sane girl who understands that reality has changed, and she needs to adapt to a new life, which cannot be started to build without breaking with the past.

Gaev Leonid Andreevich- Ranevskaya's brother. Likes to talk about everything in the world. Very often he speaks out of place, which is why he is perceived as a jester and asked to keep quiet. The outlook on life is the same as that of my sister.

Lopakhin Ermolai Alekseevich- a merchant, a very wealthy person, a typical representative of bourgeois Russia. The son of a village shopkeeper with a business acumen and flair, with the help of which he made his fortune. At the same time, he cannot boast of being educated.

Varya- Ranevskaya's adopted daughter, who dreams of making a pilgrimage to holy places. During the absence of the mother, she performed the role of mistress of the house.

Trofimov Petr Sergeevich- student, former teacher of Grisha (Ranevskaya's son), who died in childhood. An eternal student who loves to think about the fate of Russia, about what is right and wrong. Very progressive thoughts, but does not take any action to implement them.

Other characters

Simeonov-Pischik Boris Borisovich- a landowner, a neighbor of Ranevskaya, like her, all in debt.

Charlotte Ivanovna- a governess, she spent her childhood in a circus where her parents worked. He knows many tricks and tricks, loves to demonstrate them, does not understand why he lives and constantly complains about the lack of a soul mate.

Epikhodov Semyon Panteleevich- the clerk, very clumsy, "22 misfortunes", as those around him call him, is in love with Dunyasha.

Dunyasha- housemaid. A young girl, thirsty for love, tries to behave like a young lady, "a gentle creature accustomed to a gallant attitude."

Firs- a lackey, an old man of 87 years old, who served the family of Ranevskaya and Gaev all his life, refused to create his own hearth and gain freedom.

Yasha- a young footman who imagines himself to be a very important person after a trip abroad. An impudent, dissolute young man.

Early May dawn. It is still cold, but the cherry orchard has already blossomed, filling everything around with aroma. Lopakhin (who slept through the exit to the railway station) and Dunyasha are waiting for the arrival of Ranevskaya, who has spent the last 5 years abroad with her daughter Anya, a governess, and a lackey Yasha. Lopakhin recalls Lyubov Andreevna as a light and simple person. He immediately tells about his fate, telling that his father was a simple peasant, and he was already "in a white vest, yellow shoes." Without hesitation, he mentions that, despite his wealth, he did not receive an education. But at the same time she reproaches Dunyasha with the fact that she dresses like a young lady and behaves inappropriately as a maid. Dunyasha is very excited about the arrival of the owners. Epikhodov suddenly comes in with a bouquet. Dunyasha tells Lopakhin that earlier Epikhodov proposed to her.

Finally the carriages arrive. In addition to those who arrived, other heroes of the play "The Cherry Orchard" appear on the stage, meeting them at the station - Gaev, Varya, Semeonov-Pishchik and Firs.

Anya and Lyubov Andreevna are happy to return. We are glad that nothing has changed around, the situation is so unchanged that it seems that they did not leave. A lively bustle begins in the house. Dunyasha happily tries to tell Anya what happened in their absence, but Anya shows no interest in the maid’s chatter. The only thing that interested her was the news that Petya Trofimov was visiting them.

From the conversations in the first act, it becomes clear that Ranevskaya is now in an extremely difficult situation. She has already been forced to sell overseas property, and in August, her estate with a cherry orchard will be sold for debts. Anya and Varya discuss this and understand how deplorable they are, while Lyubov Andreevna, who is not used to saving money, only sighs and listens to Firs's recollections of how cherries were sold earlier and what was made from them. Lopakhin proposes to cut down the cherry orchard, and divide the territory into plots and rent it out for dachas to the townspeople. Lopakhin promises "at least twenty-five thousand a year of income." However, Lyubov Andreevna and her brother are categorically against such a decision, they value their garden: "If there is anything interesting, even wonderful, in the whole province, it is only our cherry orchard." And yet Lopakhin invites them to think about it and leaves. Gaev hopes that there will be an opportunity to borrow money to pay off debts, and during this time it will be possible to establish relations with a rich aunt Countess and, with her help, finally resolve financial problems.

In the same act, Petya Trofimov appears, passionately in love with Anya.

Step 2

The second action of The Cherry Orchard takes place in nature, near the old church, from where you can see the cherry orchard and the city on the horizon. A lot of time has passed since Ranevskaya's arrival, and only a few days are left before the auction for the sale of the garden. During this time, the heart of Dunyasha was conquered by Yasha, who is in no hurry to advertise the relationship and is even shy about them.

Epikhodov, Charlotte Ivanovna, Dunyasha and Yasha are walking. Charlotte talks about her loneliness, that there is no person with whom she could have a heart-to-heart talk. Epikhodov feels that Dunyasha prefers Yasha and is very upset about this. Hints that he is ready to commit suicide. Dunyasha is passionately in love with Yasha, but his behavior shows that for him this is just a fleeting hobby.

Ranevskaya, Gaev, Lopakhin appear near the church. Gaev discusses the advantages of the railroad, which made it easy for them to get to the city and have breakfast. Lopakhin asks Lyubov Andreevna to give an answer about the lease of the land of the estate, but she does not seem to hear him, arguing about the lack of money, and scolding herself for their unreasonable waste. At the same time, a little later, after these considerations, he gives the gold ruble to a random passer-by.

Ranevskaya and Gaev are waiting for a remittance from the Countess's aunt, but the amount is not enough to pay off the debts, and it is not acceptable for them to lease the land to summer residents, it even went off. Lopakhin is surprised at the frivolity and shortsightedness of their behavior, it even makes him angry, because the estate is for sale, and if you start renting it out, then this will be the best guarantee to any bank. But the landowners do not hear and do not understand what Lopakhin is trying to convey to them. Lyubov Andreevna reproaches the merchant for the lack of education and down-to-earth judgments. And then he tries to marry him Varya. Gaev, as always at the wrong time, reports that he was offered a job at a bank, but his sister besieges him, saying that he has nothing to do there. Old Firs comes, recalls his youth and how good life was under serfdom, everything was clear and understandable: who is the master and who is the servant.

Then Varya, Anya and Petya join the walking. And yesterday's conversation continues about pride, about intellectuals, who, with their outward education, are, in fact, small and uninteresting creatures. It becomes clear how different people have come together.

When everyone went home, Anya and Petya were left alone, and then Anya admitted that the cherry orchard was not so important for her, and that she was ready for a new life.

Step 3

The third act of The Cherry Orchard takes place in the living room in the evening.

An orchestra is playing in the house, couples are dancing around. All the characters are here, except for Lopakhin and Gaev. August 22 - the day on which the auction for the sale of the estate was appointed.

Pischik and Trofimov are talking, they are interrupted by Lyubov Andreevna, she is extremely excited, she is waiting for her brother to return from the auction, he is delayed. Ranevskaya wonders if the auction took place and what was the result.

Was the money sent by my aunt to buy out the estate was enough, although she understands that 15 thousand is not enough, which will not even be enough to pay off interest on debts. Charlotte Ivanovna entertains those present with her tricks. Yasha asks with the hostess to Paris, as he is burdened by the surrounding rudeness and ignorance. The atmosphere in the room is nervous. Ranevskaya, anticipating her imminent departure to France and meeting with her lover, is trying to settle the lives of her daughters. She also prophesies to Varya Lopakhin, and Anya would not mind marrying Petya, but she fears his incomprehensible position as an "eternal student."

At this moment, a dispute arises about the fact that for the sake of love you can lose your head. Lyubov Andreevna reproaches Petya for being “above love,” and Petya reminds her that she is striving for an unworthy person who has once robbed her and abandoned her. Although there is still no exact word about the sale of the house and garden, it is felt that everyone present has decided what they will do if the garden is sold.

Epikhodov tries to talk to Dunyasha, who has completely lost interest in him; Varya, who is as much agitated as her adoptive mother, chases him away, reproaching him for being too free for a servant. Firs fusses about serving treats to the guests, everyone notices that he is not feeling well.

LOPAKHIN enters, barely hiding his joy. He arrived with Gayev, who was supposed to bring news from the auction. Leonid Andreevich is crying. The news of the sale is reported by Ermolai Alekseevich. He is the new owner! And after that, he gives vent to his feelings. He is delighted that the most beautiful estate in which his grandfather and father were slaves now belongs to him, and he can allow himself to do in it whatever he wants, the owner of not only the estate, but also life: “I can pay for everything ! " He cannot wait to start cutting down the garden in order to build summer cottages in its place, and this is the new life that he sees.

Varya throws the keys and leaves, Lyubov Andreevna sobs, Anya tries to console her, saying that there is still a lot of good ahead, and life goes on.

Step 4

Act four begins in the nursery, but it is empty, only in the corner is luggage and things ready for removal. The sound of trees being cut down is heard from the street. Lopakhin and Yasha are waiting for the former owners to appear, with whom their former peasants came to say goodbye. Lopakhin sees off the Ranevskaya family with champagne, but no one has the desire to drink it. The mood of all characters is different. Lyubov Andreevna and Gaev are sad, Anya and Petya are in anticipation of the beginning of a new stage of life, Yasha is glad that he is leaving his mother and homeland, which has bothered him, Lopakhina is impatient to close the house as soon as possible and start the project that he conceived. The former mistress holds back her tears, but when Anya says that after the sale of the estate it only became easier for everyone, since they were all able to figure out where to move on, everyone agrees with her. Now everyone is going to Kharkov together, and there the heroes will go their separate ways. Raevskaya and Yasha leave for Paris, Anya - to study, Petya - to Moscow, Gaev agreed to serve in a bank, Varya found a place as a housekeeper in a nearby town. Only Charlotte Ivanovna is not attached, but Lopakhin promises to help her settle down. He also took Epikhodov to him to help in resolving issues with the estate. Of the former inhabitants of this house, only the sick Firs, who was supposed to be taken to the hospital in the morning, does not bustle, but because of the confusion they cannot figure out whether they took him there or not.

Pischik runs in for a minute, surprisingly everyone, he pays a debt to Lopakhin and Ranevskaya, and says that he leased his land to the British for the extraction of rare white clay. And he admits that to hand over the land of the estate for him was like a jump from the roof, but after handing over, nothing terrible happened.

Lyubov Andreevna makes a last attempt to arrange the marriage of Lopakhin and Varya, but left alone, Lopakhin never proposes, and Varya is very upset. The carriages arrived and the loading of things began. Everyone leaves, only brother and sister are left to say goodbye to the house in which childhood and youth passed, they sob, embracing, saying goodbye to the past, dreams and memories, with each other, realizing that their life has changed irrevocably.

The house is closed. And then Firs appears, who was simply forgotten in this turmoil. He sees that the house is closed, and he was forgotten, but he has no anger at the owners. He just lies down on the couch and dies soon after.
The sound of a broken string and the blows of an ax on wood. A curtain.

Conclusion

This is a retelling of the content of the play "The Cherry Orchard". After reading The Cherry Orchard in an abbreviated form, you will, of course, save time, but for a better acquaintance with the characters, for understanding the idea and problems of this work, it is desirable to read it in full.

Test based on the play "The Cherry Orchard"

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Retelling rating

Average rating: 4.3. Total ratings received: 12950.

All the characters in the play "The Cherry Orchard" are of great importance in the ideological and thematic context of the work. Even the casually mentioned names carry a semantic load. For example, there are non-stage heroes (a Parisian lover, a Yaroslavl aunt), the very fact of their existence already sheds light on the character and lifestyle of the hero, symbolizing an entire era. Therefore, in order to understand the author's idea, it is necessary to analyze in detail those images that implement it.

Characters and their role in the work

1. Ranevskaya Lyubov Andreevna - a sensitive, emotional woman, but completely not adapted to life and unable to find her core in her. Everyone uses her kindness, even the footman Yasha and Charlotte. Lyubov Andreevna expresses emotions of joy and tenderness in a childish way. She is characterized by affectionate appeals to the people around her. So, Anya - "I'm going away," Firs - "my old man." But such an appeal to furniture is striking: "my cabinet", "my table". Without noticing it herself, she gives the same assessment to a person and to things! This is where her concern for the old and faithful servant ends. At the end of the play, the landowner calmly forgets about Firs, leaving him alone to die in the house. She does not react to the news of the death of the nanny who raised her. He just keeps drinking coffee. Lyubov Andreevna is a nominal mistress of the house, since in essence she is not. All the characters in the play are drawn to her, highlighting the image of the landowner from different sides, so it seems ambiguous. On the one hand, her own state of mind is in the foreground. She left for Paris, leaving her children behind. On the other hand, Ranevskaya gives the impression of a kind, generous and trusting woman. She is ready to disinterestedly help a passer-by and even forgive a betrayal of a loved one.
2. Anya - kind, gentle, empathic. She has a big loving heart. Arriving in Paris and seeing the environment in which his mother lives, he does not condemn her, but regrets her. Why? Because she is lonely, there is no close person with her who would surround her with care, protect her from everyday adversity, understand her tender soul. The disorder of life does not upset Anya. She knows how to quickly switch to pleasant memories. He has a subtle sense of nature, enjoys the singing of birds.
3. Varya- adopted daughter of Ranevskaya. A good hostess, constantly at work. The whole house rests on it. The girl of stern looks. Having taken upon herself the heavy burden of caring for the household, she became a little hardened. She lacks a subtle mental organization. Apparently, for this reason, Lopakhin never made her a marriage proposal. Varvara dreams of going to holy places. She does nothing to somehow change her fate. He hopes only for God's will. In his twenty-four years, he becomes a "bore", so that many do not like it.
4. Gaev Leonid Andreevich. To Lopakhin's proposal regarding the future "fate" of the cherry orchard, he categorically reacts negatively: "What nonsense." He is worried about old things, a wardrobe, he addresses them with his monologues, but he is completely indifferent to the fate of people, so the servant left him. Gayev's speech testifies to the limitations of this man, who lives only by personal interests. If we talk about the situation in the house, then Leonid Andreevich sees the way out in receiving an inheritance or in Ani's profitable marriage. Loving her sister, she accuses her of being vicious, she did not marry a nobleman. He speaks a lot, not embarrassed by the fact that no one is listening. Lopakhin calls him a "woman" who grinds only with her tongue, while doing nothing.
5. Lopakhin Ermolai Alekseevich. To him you can "apply" the aphorism: from rags to riches. He evaluates himself soberly. Understands that money in life does not change a person's social status. “Ham, kulak,” says Gaev about Lopakhin, but he doesn't care what people think of him. Not trained in good manners, unable to communicate normally with a girl, as evidenced by his attitude towards Varya. He constantly glances at his watch, communicating with Ranevskaya, he has no time to talk like a human being. The main thing is the upcoming deal. Knows how to "console" Ranevskaya: "The garden is sold, but you sleep well."
6. Trofimov Petr Sergeevich. Dressed in a shabby student's uniform, glasses, thin hair, for five years, "dear boy" has changed a lot, looked ugly. In his understanding, the goal of life is to be free and happy, and for this you have to work. He believes that those who seek the truth need help. There are many problems in Russia that need to be solved and not philosophized. Trofimov himself does nothing, he cannot graduate from the university. He utters beautiful and intelligent words that are not supported by actions. Petya sympathizes with Anya, speaks of her "my spring". He sees in her a grateful and enthusiastic listener to his speeches.
7. Simeonov - Boris Borisovich Pischik. Landowner. Falls asleep on the go. All his thoughts are directed only at how to get money. Even Petya, who compared him to a horse, he replies that this is not bad, since a horse can always be sold.
8. Charlotte Ivanovna - governess. Knows nothing about himself. She has no relatives or friends. Grew up like a lonely stunted bush in the middle of a wasteland. She did not experience feelings of love in childhood, did not see care from adults. Charlotte has become a person who cannot find people who would understand her. But she herself cannot understand herself. "Who am I? Why am I?" - this poor woman did not have a bright beacon in her life, a mentor, a loving person who would help to find the right path and not turn away from it.
9. Epikhodov Semyon Panteleevich works in an office. He considers himself a developed person, but openly declares that he cannot decide in any way: "live" for him or "shoot himself." Jonah. Epikhodov is pursued by spiders and cockroaches, as if trying to force him to turn around and look at the miserable existence that he has been dragging out for many years. Unrequitedly in love with Dunyasha.
10. Dunyasha - maid in Ranevskaya's house. Living with the gentlemen, she lost the habit of a simple life. Doesn't know peasant labor. Afraid of everything. Falls in love with Yasha, not noticing that he is simply not able to share love with someone.
11. Firs. His whole life fits into "one line" - to serve the masters. The abolition of serfdom is evil for him. He is used to being a slave and cannot imagine another life.
12. Yasha. An uneducated young footman dreaming of Paris. Dreams of a rich life. Callousness is the main feature of his character; even with his mother tries not to meet, ashamed of her peasant origin.

Characteristics of heroes

1. Ranevskaya is a frivolous, spoiled and pampered woman, but people are drawn to her. The house seemed to open the time-bound doors again when she returned here after a five-year absence. She was able to warm him with her nostalgia. Coziness and warmth again "sounded" in every room, as solemn music sounds on holidays. This did not last long, as the days of the house were numbered. In the nervous and tragic image of Ranevskaya, all the shortcomings of the nobility were expressed: his inability to self-sufficiency, lack of independence, spoiledness and a tendency to evaluate everyone according to class prejudices, but at the same time the subtlety of feelings and education, spiritual wealth and generosity.
2. Anya. A heart beats in the chest of a young girl, which is waiting for sublime love and looking for certain life guidelines. She wants to trust someone, to test herself. Petya Trofimov becomes the embodiment of her ideals. She cannot yet look at things critically and blindly believes Trofimov's "chatter", presenting reality in a rosy light. She's the only one. Anya is not yet aware of the versatility of this world, although she is trying. She also does not hear those around her, does not see the real problems that have befallen the family. Chekhov had a presentiment that this girl was the future of Russia. But the question remained open: will she succeed in changing something, or will she remain in her childhood dreams. After all, in order to change something, you need to act.
3. Gaev Leonid Andreevich. Spiritual blindness is characteristic of this mature person. He stayed in childhood for the rest of his life. In conversation, he constantly uses billiard terms out of place. His horizons are narrow. The fate of the family nest, as it turned out, did not bother him at all, although at the beginning of the drama he punched himself in the chest and publicly promised that the cherry orchard would live. But he is categorically incapable of doing business, like many nobles who are used to living while others are working for them.
4. Lopakhin buys the family estate of Ranevskaya, which is not a "bone of contention" between them. They do not consider each other to be enemies; humanistic relationships prevail between them. Lyubov Andreevna and Ermolai Alekseevich seem to want to get out of this situation as soon as possible. The merchant even offers his help, but is refused. When everything ends safely, Lopakhin is happy that he can finally get down to real business. We must pay tribute to the hero, because it was he, the only one, who was concerned about the “fate” of the cherry orchard and found a way out that suited everyone.
5. Trofimov Petr Sergeevich. He is considered a young student, although he is already 27 years old. One gets the impression that the student body has become his profession, although outwardly he has turned into an old man. He is respected, but no one believes in noble and life-affirming appeals, except for Anya. It is a mistake to believe that the image of Petya Trofimov can be compared with the image of a revolutionary. Chekhov was never interested in politics, the revolutionary movement was not part of his circle of interests. Trofimov is too soft. The warehouse of his soul and intelligence will never allow him to cross the boundaries of what is permitted and jump into an unknown abyss. In addition, he is responsible for Anya, a young girl who does not know real life. She still has a rather delicate psyche. Any emotional shock can push her in the wrong direction, from where she can no longer be returned. Therefore, Petya must think not only about himself and about the implementation of his ideas, but also about the fragile creature entrusted to him by Ranevskaya.

How does Chekhov feel about his heroes?

A.P. Chekhov loved his heroes, but he could not entrust the future of Russia to any of them, not even Peta Trofimov and Anya, the progressive youth of that time.

The heroes of the play, attractive to the author, do not know how to defend their life rights, they suffer or are silent. Ranevskaya and Gaev suffer, because they understand that they cannot change anything in themselves. Their social status fades into oblivion, and they are forced to drag out a miserable existence on the last proceeds. Lopakhin suffers, as he realizes that he can do nothing to help them. He himself is not happy with the purchase of a cherry orchard. No matter how hard he tries, he still will not become his full-fledged owner. That is why he decides to cut down the garden and sell the land in order to later forget about it as a nightmare. But what about Petya and Anya? Isn't the author pinning his hopes on them? Perhaps, but these hopes are very vague. Trofimov, by virtue of his character, is not capable of taking any radical actions. And without this, the situation cannot be changed. He is limited only to talking about a wonderful future and that's it. And Anya? This girl has a slightly stronger core than Petra. But due to her young age and the uncertainty of life, changes should not be expected from her. Perhaps, in the distant future, when she has set all life priorities for herself, it will be possible to expect any actions from her. In the meantime, she is limited to belief in the best and a sincere desire to plant a new garden.

Whose side is Chekhov on? He supports each side, but in his own way. In Ranevskaya, he appreciates genuine female kindness and naivety, albeit seasoned with spiritual emptiness. In Lopakhino, he appreciates the desire for compromise and poetic beauty, although he is not able to appreciate the real beauty of the cherry orchard. The Cherry Orchard is a member of the family, but everyone is unanimously forgetting about this, while Lopakhin is generally unable to understand this.

The heroes of the play are divided by a huge abyss. They are not able to understand each other, as they are closed in the world of their own feelings, thoughts and experiences. However, everyone is lonely, they have no friends, like-minded people, there is no true love. Most go with the flow without setting any serious goals. Moreover, they are all unhappy. Ranevskaya is experiencing disappointment in love, life and her social supremacy, which seemed unshakable yesterday. Gaev once again discovers that aristocratic manners are not a guarantor of power and financial well-being. Before his eyes, yesterday's serf takes away his estate, becomes the owner there even without the nobility. Anna is left penniless, she has no dowry for a profitable marriage. Although her chosen one does not require him, he has not earned anything yet. Trofimov understands that he needs to change, but does not know how, because he has no connections, no money, no position to influence something. They are left with only the hopes of youth, which are short-lived. Lopakhin is unhappy, because he realizes his inferiority, belittles his dignity, seeing that he is no equal to any masters, although he has more money.

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