Introduction

Historical and cultural aspects of plays A.P. Chekhov "Cherry Garden".

2 Plays "Cherry Garden" in Mkat

Modern plays of the play A.P. Chekhov "Cherry Garden" in Russia and abroad.

2. Foreign Pieces of A.P. Chekhov "Cherry Garden"

Conclusion

Bibliography

Introduction

The relevance of the chosen theme is that showing all the Chekhov performances of Soviet and foreign theaters, to display all the acting achievements, all the variety of directorial interpretation of the works of the Great Russian playwright is impossible in any, even the largest album. In addition, Chekhov performances are becoming more and more every day.

january 2010, the world theatrical community celebrated 150 years since his birth. Chekhov's plays occupy an important place in the repertoires of Russian and foreign theaters.

Many theaters and in Russia and abroad again turned to the works of a wonderful playwright. In our country, where Chekhov rightly took the place of her beloved people's writerThe new productions of his plays appeared not only in the famous academic scenes, but also in regional and even in small district theaters.

The play of Chekhov "Cherry Garden" has become the most famous work of world dramaturgy not only the twentieth century, but also XXI, theatrical figures of all over the world appealed to her comprehension, but most of the scenic interpretations of the Chekhov Comedy were created at the Motherland of the Writer? - In Russia.

As you know, the premiere of the "Cherry Garden" took place on the MHT stage in 1904, the directories were K.? Stanislavsky and V.? Nemirovich-Danchenko.

The history of the plays, as well as its modern interpretation both on Russian scenes and foreign, will be consistently consecrated in this work.

Research Object - Scenic Station of Plays A.P. Chekhov "Cherry Garden".

Research Subject - Features of the stage formulation of the play A.P. Chekhov "Cherry Garden" on Russian and foreign scenes.

The purpose of the study is to analyze the features of the stage formulation of the play A.P. Chekhov "Cherry Garden" on Russian and foreign scenes.

Research tasks:

Explore the historical features of the plays of the "Cherry Garden"

Analyze the modern cultural aspects of the plays on russian scene,

Identify the interpretation of foreign directors of the play A.P. Chekhov "Cherry Garden".

Research methods: Historical and cultural, analytical, descriptive and comparable research methods.

The practical significance of this study is that the results of the work may make importance to the main aspects of the plays of the "Cherry Garden" play, as well as deeper to understand the features of the scenic creativity A.P. Chekhov.

The study consists of introduction, two chapters, conclusion and literature of the used literature.

1. Historical and cultural aspects of plays A.P. Chekhov "Cherry Garden"

1 The first experiments of the play "Cherry Garden"

In the play "Cherry Sad", many vitality of A. P. Chekhov reflected. These are the memories of the sale of a native house in Taganrog, and acquaintance with the Kiselev - the owners of Babkino, near Moscow, where Chekhov lived in the summer months of 1885-1887. A. S. Kiselev, who after the sale of estates for debts entered the service as a member of the bank's board in Kaluga, was largely the prototype of Gaeva. In 1888 and 1889, Chekhov rested in the estate of Lintelvarov, near the sum of the Kharkiv province, where there were a lot of launched and dying noble estates. The writer could observe in detail in detail in 1892-1898, living in his Melikov, and in the summer of 1902, when he stayed in the estate of K. S. Stanislavsky - Belimovka near Moscow. The ruining nobility, thoughtlessly living his states, gradually supplanted out of the places of increasingly stronger "third estate". The play was written in 1903.

According to the story of K. S. Stanislavsky, the idea of \u200b\u200bthe "Cherry Garden", while even indefinite, was worn in the imagination Chekhov already during the rehearsal of the "three sisters" (1901). Soon after the "three sisters" setting of Chekhov in letters to O. L. Knipper spoke several times about the intention to write for Moscow Art Theater. Cheerful play. In one of the letters in the spring of 1901, he writes that the play was thinking about him as a comedy, "like a funny play, where the devil walked a rocker." The first statement of Chekhov about the play, which he had to write for the Art Theater and began to think about, is in a letter to O. L. Kripper January 20, 1902: "I did not write you about future play Not because I have no faith in you, as you write, but because there is still no faith in the play. She bared a little bit into the brain as the earliest dawn, and I still do not understand what she came out of her, and she changed every day. " Apparently, the same play of Chekhov mentions in a letter to K. S. Stanislavsky on October 1, 1902: "October 15 I will be in Moscow and I will explain to you why so far my play is not ready. There is a plot, but it's still not enough gunpowder. " In December of the same year, in a letter to O. L. Kripper, Chekhov already calls the play by her title: "My" cherry garden "will be in 3 acts. So it seems to me, and however, I finally did not yet decide "(December 24, 1902). The overall design of the play continued to be unclear and next month: "Cherry Garden" I wanted to do in 3 long acts, but I can do in the 4th, I don't care, for 3 or 4 acts - the play will still be the same. " (Letter to O. L. Knipper, January 3, 1903). Write a play at this time of Chekhov has not yet started. "The play will begin to write in February," he reported to K. S. Stanislavsky on January 19, 1903. At the end of January, Chekhov wrote about the same in the letter to V. F. Commissar: "The play is conceived, right, and I already have the name for her already There is ("Cherry Garden" - but it's still a secret), and I will like to write it, probably no later than February, if, of course, I will be healthy. " In the same letter, Chekhov mentions that the central role in the play will belong to the "old woman".

In March, the play has already been written, they even had the roles in the letters, "if the play I don't have such as I planned it, then I knock me on the forehead with a fist. Stanislav's role is comic, you also have "(Letter to O. L. Knipper, March 5, 1903)" And the play, by the way, I do not quite succeed. One main acting person is not yet sufficiently thought out and interferes, but for Easter, I think this face will be already clear, and I will be free from difficulty "(she, on March 18, 1903). "Cherry Garden" will try to make it possible less than those acting persons; Stage intimate "(March 21, 1903).

In April, the work was interrupted by a trip to Moscow and St. Petersburg and was renewed, apparently, only after returning from Moscow and Naro-Fominsky in Yalta, in June. On the question of K. S. Stanislavsky about the play of Chekhov in a letter for him on July 28, 1903, he answered: "My play is not ready, it moves it tightly, which I explain to both the tape, and wonderful weather, and the difficulty of the plot." August 22, in a letter to Vl. AND. Nemirovichun DanchenkoChekhov provides that it will be necessary for the scenery: "The staged part ... Sweet to a minimum", "I replaced the River with an old chapel and a well," in the second act "Green Field", "Road" and extraordinary for the Dal scene. " All this indicates that at this time the work was mainly over the second act.

In a letter to Vl. I. Nemirovich-Danchenko On September 2, 1903, Chekhov reported: "My play (if I continue to work in the same way, as it worked until today) will be over soon, be found. It is difficult, it was very difficult to write the second act, but it seems nothing. Plays call comedy. "

Correspondence went slowly. With a correspondence, a lot has been subjected. "I really don't like some places, I write them again and rewrite again" (Letter to O. L. Kripper on October 3).

october Chekhov wrote O. L. Knipper: "I can not believe that I am no longer writing the play. Whether you believe, twice rewritten quite ". When sending the play of Chekhov, he did not read the work on it completely finished: "If the play does not fit, - he wrote O. L. Knipper on October 17, - Do not fall in spirit ... Do not be sad, after a month I will redo it that you will not know . After all, I wrote her for a long time, with a big intermission, with a stomach disorder, with a cough. "

In November 1903, the text of the play entered the dramatic censorship. Two places were excluded censor. In the 2nd action, in the words of Trofimova: "Everyone is serious, in all strict persons, everyone speaks only about important, philosophy, and meanwhile, everyone in the eyes of workers eat disgusting, sleep without pillows, thirty, forty in one room , everywhere bugs, Smraff, dampness, moral unclean. " In the 2nd action, in another speech of Trofimova, starting with the words: "All Russia is our garden ..." - "Owning alive souls - after all, it reborn all of you who lived earlier and now living, so your mother, you, uncle , no longer notice that you live in debt, on someone else's account, at the expense of those people you do not allow the front ... "

Chekhov regularly attended the rehearsals of the play in the Moscow Art Theater. Obviously, during the rehearsal period and the first performances, the text of the play also exposed to edit. About one of the corrections is probably the most noticeable, tells K. S. Stanislavsky:

"The play has not been given for a long time. Especially the second act. It does not have, in the theater sense, no action and seemed at rehearsals very monophonic. It was necessary to depict the boredom of Noschenia so that it was interesting. And it was not possible ... The act seemed to us stretched, and we, when Czechs came to Moscow, turned to him with a request to reduce ... Apparently, this request caused him pain, his face was scratched. But then he replied: "Well, cut ..."; Already after several of the first performances of Chekhov changed the end of this act, having embraced the final stage before the final stage following the ending the act of the Scene of Petit Trofimov and Ani. "

While working on the play of Czechs in letters sometimes expresses and about individual roles and the character of the play as a whole. "I got not drama, but a comedy, even a farce ..." (M. Alekseeva, September 15, 1903). He cares about the fact that Ani did not have a "crying" tone, so that in general the play was not "a lot of crying". "Often I have," he explained, "occurs" through tears ", but it shows only the mood of individuals, and not tears" (Vl. I. Nemirovich-Dancchko, October 23, 1903). About Trofimov Chekhov wrote in a letter to O. L. Knipper: "After all, trophimov is the case in the link, then it is also expelled from the university, but how do you show these pieces?" (Letter on October 19, 1903). In the projects of the distribution of roles between actors, there were instructions to act as an acting interpretation of different persons of the plays. Many instructions were made about the decorative side of the play.

According to the memoirs of K. S. Stanislavsky, Chekhov was very attentive to all the details of the performance. Moreover, the directorial interpretation of the "Cherry Garden" was not satisfied with Chekhov. "This is a tragedy, whatever the outcome to the best life you open in the last act," wrote Stanislavsky Chekhov, claiming his logic of playing the play to the tragic final, meaning, in essence, the end of the old life, the loss of the house and the disappearance of the garden. In his vision, the performance was deprived of comedy intonations, which was infinitely outraged Chekhov. In his opinion, Stanislavsky (the executor of the role of Gaeva) in the fourth act delayed the action. "How is it terrible! - wrote the Chekhov wife. - The act that should last 12 minutes Maximum, you have 40 minutes. I thwarted me the play Stanislavsky. "

In turn, Stanislavsky complained in December 1903: "Cherry Garden" "... so far does not bloom. Flowers had just appeared, the author came and confused us all. Flowers opled, and now only new kidneys appear. "

The fact that Chekhov was little satisfied with the progress of the play of the play, they say lines from his letter to V. K. Kharkevich dated January 13, 1904: "My play will go, it seems, on January 17; Success special is not waiting, it is sluggish. " The first performances did not meet it as another day after the performance, he wrote I. L. Shcheglov: "Yesterday my play was, I was so unimportant." The acting game seemed to him "confused and not bright." In letters to O. L. KNNPner Chekhov expressed dissatisfaction with the interpretation of the play: "Why is my play on the bills and newspaper ads are called a drama so stubbornly? Nemirovich and Alekseev [Stanislavsky] in my play see positively not what I wrote, but I am ready to give any word that both of them have never read my play carefully! ".

When in the spring of 1901, Chekhov had an idea of \u200b\u200bthe "Cherry Garden", it seemed to him that this play would be "cheerful, frivolous", "certainly ridiculous, very funny," "where the devil walked a rocker." On March 1, 1903, he "laid the paper on the table and wrote title" And, taking into account the artists of the Art Theater, in September ended in the draft "not drama, but a comedy, even a farce." On October 14, the White Piece Manuscript was sent to Moscow, where in a week, October 20, Nemirovich-Danchenko read her theater troupe. Stanislavsky, explaining in the letter to the author that "This is not a comedy, not Fars, as you wrote, is the tragedy," immediately started rehearsals, distributing the roles in accordance with his own idea of \u200b\u200bthe work of a "heavy, car drama" of Russian life. Approximately in the same vein, ignoring the author's remarks and creating a tone-taking director, sims wrote and scenery. In December 1903, Chekhov came to Moscow and began to go to the rehearsal, that, as I recalled later Stanislavsky, "I confused us all": the actors did not suit him (he asked to replace them with others), as he did not suit him and what "fun comedy "They play too hard (afterwards he will write:" Nemirovich and Alekseev in my play see positively not what I wrote, and I am ready to give anything that both of them have never been reading attentively by my play ").

january, the first representation of the play by A. P. Chekhov "Cherry Garden" on the scene of the Moscow Art Theater. The play participated: O. L. Knipper (Ranevskaya), M. P. Lilina (Anya), M. F. Andreeva (Varya), K. S. Stanislavsky (Gaev), L. M. Leonidov (Lopakhin), in . I. Kachalov (Trofimov), I. M. Moskvin (Epietov), \u200b\u200bA. R. Artem (Firs) and more.

The premiere had, according to Stanislavsky, "Only medium success, and we condemned themselves for the fact that they failed, from the first time, show the most important, excellent and valuable in the play." Soon the reviews appeared in the intelligent publications: the conservatives swore the performance by the image of the pestlessness of the nobility before the energy of the "fist" of the blades; Liberals, assigning the Chekhov label "Singer of Cherry Gardens," praised for an elegic interpretation of the fate of the nobility; Symbolists saw in the play mystical tragedy about the "Rock", which "sweatily sneaks to exhaustible"; revolutionary Democrats Evaluated the play and the play mostly negatively (Korolenko was dissatisfied with the critical attitude of Chekhov to "epigons of serfdom," the bitter did not like "longing", and the thievesky in the article "Extra People" wrote about "idleness, impotence and tunes" "Rutile Wednesday") . In general, critics converged in the fact that, as Valery Bryusov spoke, "a good play, but this is not the case of creating art," "Dramatic provisions are not very new," and the idea is "small."

At the premiere Chekhov brought almost force, and even then only by the end of the third action. And in the last intermission staged, with pomp, with long speeches and offerings, honoring about the 25th anniversary of his literary activities. "On the anniversary itself," said Stanislavsky subsequently, "he was not cheerful, exactly sick of his close death. When after the third act he, she is deadly and thin, standing on an advance, could not take cough while he was welcomed with addresses and gifts, the heart sank painfully. From the auditorium he was shouted to take him. But Chekhov frowned and stood all the long and tight anniversary celebration, over which he laughed in his works. But here he could not resist a smile. One of the writers began his speech almost the same words as Gaev welcomes the old cabinet in the first act: "Dear and multiple ... (Instead of the word" wardrobe ", the writer put the name of Anton Pavlovich) ... Welcoming you", etc. Anton Pavlovich glanced at me - the artist Gaeva, and a cunning smile ran through his lips. An anniversary came out solemn, but he left a difficult impression. From him gave the funeral. It was sad on the soul ...

Anton Pavlovich died, and without waiting for the real success of his last disunoring work. "

1.2 Plays "Cherry Garden" in Mkate

With the playwright Anton Pavlovich Chekhov connected with the true birth of the Moscow Art Theater, who turned out to be the best interpreter of his works. The first performances of the theater were the drama Chekhov "Seagull", "Three sisters", "Cherry Garden". Before that, Chekhov's play was raised on the stage three times, and all three productions were unsuccessful. Not fitted in the canons of the old Russian theater, the Chekhov drama "sounded" in the MHT perfectly in a new way.

january 1904, the premiere of the "Cherry Garden" play took place in the MHT, Stanislavsky and Nemirovich-Danchenko were the director of the performance. Olga Knipper Chekhov was occupied by Ranenevskaya, in the role of Gaeva - Konstantin Stanislavsky, Trofimova played Vasily Kachalov, Epodova - Ivan Moskvin. On April 17, 1958, a new layout of the play was made by the director Viktor Stalisan in Mkate.

IN soviet time Theatrical interpretations of the works of Chekhov were distinguished by a variety.

Modern formulation of Mkat Pieces by performing Adolf Shapiro and with the participation of Renata Litvinova differs from all other productions.

"Cherry Garden" Adolf Shapiro - the last of three Chekhov performances set by the current spring by order of the festival " Cherry forest" Each of these non-shrinking novelty interpretations of the performances lasted the public with some kind of surprise: "Chaika" in the Mossovet Theater - the debut of Andrei Konchalovsky as the theater director, "Uncle Vanya" in "Tabakcoque" - Oleg Tabakov and Marina Zudina in the role of legal spouses, And the Mkhatovsky "Cherry Garden" - participation in the play of screenwriters, film actresses and secular diva Renata Litvinova.

Among the classic actors learned from the Stanislavsky school, it looks just like it would look out among the real village cherry garden some exotic palm tree. But her presence on stage is, perhaps, the only thing that does not give a spectral to ride a classic routine. Wonderful actors - Andrei Smolyakov (Lopakhin), Sergey Dreyden (Gaev), Evdokia Germanov (Charlotte), Vladimir Kashpur (Firs) - conscientiously, but not interested and predictably played in the rings to the rollers to the oskomina, the familiar text. The rest of the characters exist at all on stage just because the doctor of Chekhov registered. In such a situation, spectator interest is reduced to how the textbook phrases in the mouths are inexperienced, but Renata Litvinova.

They sound differently - one is better, the other worse, in the usual for Mrs. Litvinova, but continuously revolutionary for the Ranevian manner. All pathetic monologues, who, according to the raw theatrical tradition, it is supplied to pronounce with a great feeling, looking away, the actress hopelessly fails. The famous speech about the Cherry Garden She says almost with annoyance, as strangers imposed by it for some reason. But, confessing in front of Petya in his sinful love, she asks "the burning Barina" heat. The actress and her heroine in female unites their weak forces to protect: one frightened and confused from the need to stand for the first time on an advance in front of a huge hall, without closing from the viewer with a shield of a television screen, the other too driven into the angle of hung over the estate of misfortune and its own helplessness, multiplied to urges conscience. And as a seeded beast, smakely from fear, Litvinova-Ranevskaya rushes on the poor Petya (Dmitry Kulichkov), pinch him for the Borozenka, breaks down on a cry so that it is urgent to be reted on the battlefield.

It turned out that Litvinovskaya is brokenness and emphasis, a strange manner to speak and gesticulate, oddly enough, go raseno - a woman with a terrible fate and a distinguished psyche, accustomed to Parisian bohemian life and all the time hiding somewhere on the ground. Thanks to them, the words of Gaeva about the sister are becoming clear: "In each of its movement, the viciousness is felt." And the reluctance to pass the land for rent in this very ranenevskaya is explained simply, purely aesthetic causes: "Dachas, dackets ..." - Renata tries these words to taste, as if on wine tasting, and pronounces his verdict "Sorry, but it went so" With the reader of the leading TV show "Style".

In the performance, another not stipulated by the play is the Mascot Curtain. The artist David Borovsky, who once came up with the legendary curtain for the Tagansky "Hamlet", used similar techniques in this formulation. He did not leave almost anything on the stage: neither a cherry garden nor estate. All scenery replaces one curtain that does not move away, as usual, and it swings inside the scene with huge flaps and replaces the walls of the house. It is to Him who draws Gaev his monologue dedicated to a century of cabinet. For him, the Ranevskaya is convulsioned before you leave the scene. And when the garden begged behind the scenes, it seems that Yermolay Lopakhin has been enough for an ax over the overlap of the old Mkat. However, someone, and Adolf Shapiro is difficult to blame in sabotage actions on the undermining agencies. And if he made some kind of revolution, then only in one separate role.

Ideologically central in this formulation becomes a scene with passersby. The young man in the Black Sea Bushlak is imperceptible to the company, carefully listens to the reasoning of Petit Trofimov about the proud person and the replicas, which are exchanged among themselves the inhabitants of the estate, then asks how to go to the station, but it is clear that it is he - the one who will soon indicate All the road. The only one who remains to live on the spot of the cherry garden, - well, maybe still the omphodas (the young artist Sergey Ugryumov managed to turn it into one of the central characters of the performance), which detects an amazing adaptability to circumstances.

"Cherry Garden" - a sample of the current difference. David Borovsky, the current Maschat's chief artist, revived the ascetic of the old Taganka. Among the Quarters and the Osks of the cut fraudulent curtain, which go on stage, sharing it on the rooms and snacks, between the noble Sukon go to: naturalistic, even with a physiological bias of Firs (Vladimir Kashpur), characteristic, in the best traditions of the strong provincial theater Simeon-Pisher (Vladimir Krasnov), a whole company of mysterious, resting on the inner strength of "Tabacquarkovs" - Andrei Smolyakov, Evdokia Germanov, Sergey Ugryumov; Amazing Sergey Dreden - Gaev, a creature, which, like a balloon, must be kept for a string; And finally, Ranevskaya in a new format, Ranevskaya from the program "Style" - Renata Litvinova. The main manock of this "Cherry Garden" and the main guarantee of success, especially among the youth public.

"Cherry Garden" - a light performance. Without special Mkatovsky pauses and other psychological trees, it flies quickly. If there are separate bewilders in places - for example, why Firs, the only one of the servants, "will", or all male characters go home in hats, like rabbis, or for what logic as a random passerby, a sailor was launched in a bushlate, and where he left his "Aurora" ... - Do not think about it for a long time. All sorts of trifles and little things completely eclipsed by an unprecedented, truly revolutionary interpretation of the image main heroine.

All the characters mentioned, although they have been played differently, consist of each other in blood relations. They are all - Chekhovsky. That is, ambiguous, deep, with a double or triple bottom, with a rich, not immediately revealing internal connections and experiences. Any applicant when entering the theater university should be firmly redefined so that the teeth go out that Chekhov heroes never say what they think, and always do not think about what they are talking about. Text is nothing, the subtext is all. Therefore, these plays can borp to the public, but have hypnotic power over the director, because it is to be interpreted - one of the greatest pleasures in life. And Chekhov provides an endless field for the director's maneuver.

2. Modern plays of the play A.P. Chekhov "Cherry Garden" in Russia and abroad

1 Piece "Cherry Garden" on the Russian scene

piece Chekhov Staging theater

"Cherry Garden" began a triumphal procession on theatrical scenes Russia and the world, which continues and today. Only in 1904, this play of Chekhov was set in the Kharkov Theater Dyukuk (at the same time with the production of the MHT, the premiere - January 17, 1904), the partnership of the new drama in Kherson (director and the executor of the role of Trofimova - Vsevolod Meyerhold), in the Kiev theater Solovtsov and in Vilen theater. And in 1905, the "cherry garden" saw the audience in St. Petersburg - on the stage of Alexandrinsky's play, Chekhov set Yuri Ozersky, and as theater artist Konstantin Korovin spoke.

In this famous performance, the images of Gaev and Ranenevskoy, in the brilliant execution of Konstantin Stanislavsky and Olga Knipper-Chekhov, and thus in the center of the stage turned out to be the line of noble custody, powerlessness before the vitality of life collapse. A similar interpretation did not correspond to the copyright. Chekhov wrote that the theater was played "positively not what I wrote" that the theater "thugged" play. Recall that the playwright insisted that the central figure in the play is the role of a blades. For a long time in the MHT rehearsed the play as a "heavy drama", despite the detailed instructions and the personal presence of the author. However, over time, the performance walked better and better, and many dramatic theaters have already hurried to enter the play in their repertoire. So, Vsevolod Meyerhold, who managed to feel the tonality of the Chekhov play, put the "cherry garden" in Kharkov, as he told the author in the letter: "... The Cherry Orchard We play well ... Your play is abstract, like a symphony of Tchaikovsky. And the director must catch her hearing above all. "

"Cherry Garden" can be found in the repertoire of most Russian theaters, many of the performances have become a classic of theatrical art. Thus, the legend of the theater on Taganka (Moscow) was the statement in 1975 by Anatoly Efros, filled with a tragedy, a powerful feeling of the end of the world.

Absolutely new interpretation of the Chekhov play was offered in 1984 the director of Moscow academic Theater. Satira Valentin Plek, who tried to penetrate the Chekhov masterpiece, not bringing his interpretation. "Chekhov does not need to hold" ,? - considered the director. In the center of the performance of the Satira Theater? - The role of a lopakhin, which brilliantly fulfilled Andrei Mironov.

The main character in the last Chekhov masterpiece in the formulation of Galina Volchek (Moscow Theater "Contemporary") was the cherry garden himself. Her statement of 1997 is the tragic story about ridiculous and funny people who have no future.

In 2009, the premiere of the "Cherry Garden" on the scene of the Moscow Theater "Lenk" took place.

In December 2010, the world premiere was held on the stage of the Bolshoi Theater in Moscow. "Cherry Garden" Chekhov, who survived hundreds for his story stage performances In the theaters of different countries, first presented in the Opera genre. Last Chekhov play on notes shifted french composer Philip Fenelon. "When I wrote music, I remembered the phrase Chekhov that Rus? - This is our cherry garden . Therefore, in my opera there is an excess of Mussorgsky, Tchaikovsky, Shostakovich and, of course, the Russian folklore ",? - explains the composer.

2.2 Foreign Pieces A.P. Chekhov "Cherry Garden"

The works of Chekhov are widely represented on the scenes of the theaters of the world.

In the 1980s and 1990s, the original interpretations of the plays of Anton Chekhov Eimuntas Nyakroshuy, Joseph Rehehelghaus, Mark Posovsky, Kama Ginkas, and others.

In the UK, a wide interest in the work of Chekhov arose after the First World War. Throughout the twentieth century, many famous directors, such as Lawrence Olivier and Peter Brooke, appealed to him. In France, the peak of interest in Dramaturgia Chekhov occurred at the 60-70 years of the twentieth century: among the leaders of Jean Louis Barro, Sasha Pitoev, Georgio Streller, Monne, Villar.

In the UK, the anniversary of the writer was marked by the emergence of new productions of his plays. On April 16, 2010, the premiere of the play "Cherry Garden" was held at the Royal Lyceum Theater (Edinburgh) in the formulation of the famous Scottish director John Bern. It should be noted that the director addressed the plays of Chekhov and earlier. In 2006, the viewer was proposed to adapt the Chekhov "Uncle Vani" called "Uncle Varik", in which Bern transformed the "scenes from the village life" in the "scenes from the life of Northeast Scotland of the 1960s".

The director refers to such historical parallelism and when "Cherry Garden" is set. The action of the play is transferred to the countryside of Perthshira (Scotland). The time of action is the end of 1978 - the beginning of 1979, characterized by inflation and unemployment, strikes of miners and railway workers, uncontrolled immigration and conflicts on national and racial soil. These crisis months entered the history of Great Britain under the name "Winter discontent". The country stood on the threshold of the coming social change and strict socio-political reforms carried out by the Government of Margaret Thatcher who won the extraordinary parliamentary elections in May 1979. "The stormy era of the Board of Thatcher is certainly not comparable in a scale of the Russian revolution, although social dramatic changes were still significant," the director notes. "Large families lived in large homes, made wasteful trips to Paris, bankruptted, and now there were absolute idealists of Makkreks with long speeches in Chekhov's spirit." Hero Bern Melcom McCrequin (Lopakhin), like M.Tetcher, Son of the Bakaller. Embedded from the bottom and rapidly scattered on the revolutions with real estate, it remains spiritual. His desire to demolish the estate and build a hotel complex with golf courts is quite explained from the standpoint of mercantile societies, which are managed by the laws of rapid profit and dishonest competition, but in an insensually in terms of the invaluable beauty of the dying cherry garden. However, the older generation is no better. All of them are anachronic even for 1979, approves the director, with their "tweed" superiority and the desire to turn away from all that they do not want to see and hear. They make helicopter walks around the Eiffel Tower, snew money, thereby emphasizing their unnecessaryness and worthlessness. And only Mrs. Ramsai-Maccay (Ms. Ranenevskaya) under the layer of uselessness hides a feeling of bitterness from the loss of what was a symbol of youth, joyful hopes, big expectations and that will never happen again, the cherry garden.

The correlation of the pre-revolutionary Russia and pre-revolutionary Scotland in the production of Bern is quite bold and unexpected. Nevertheless, the director emphasizes that this is the play of Chekhov that "nothing is added in it and nothing is missed." He calls his sharing, in which the great Russian playwright built a foundation, and he "decorated already good." The work of Berne once again confirms the uniqueness of the dramatic method A.P. Chekhov, which opens up ample opportunities for stage experimentation.

The play is very interesting in the interpretation of the Dublin Abby theater.

Abby Theater is one of the most stringent representatives of the Irish Theater School, Chekhov in the XX century. It became one of the most popular and favorite Russian authors in the repertoire of European theaters, and M. O. Knebel is one of the main representatives of the Stanislavsky school and Nemirovich-Danchenko in the second half of the XX century. Thus, in the play "Cherry Garden" there were together very powerful currents of two theaters, Russian and Irish.

Speaking about the Abby theater, you need to know that it was created on turn XIX. and XX centuries. Three Irish playwrights - W. B. Yeats, D. M. Sing and I. A. Gregory. Created on the basis of the principles and with the same objectives as the majority of independent, free theaters that appeared in Europe at this time (in their number included MHT Stanislavsky and Nemirovich-Danchenko). The main of these goals is the confrontation between the routine of the commercial theater, the fundamental update of theatrical art. The difference between the Abby Theater was that he was not the directorial theater in the first decades of its existence; In his stage activity, a lot of OP-determined playwrights. And at this time, and later, when the theater became national, the director in the theater was invited, but their activities did not acquire such a fundamental role as in France, Germany, England and Russia.

According to some researchers, the modern Irish Theater is primarily an acting theater. The level of acting in performances is much higher than the director. Most often, the actors deepen, the dramaturgical material is perfect.

The meeting of the Abby Theater with the director and theatrical teacher Knebel became one of the events marked new stage In the development of his scenic art. The work of Maria Osipovna, even in such a short time, which is given in Ireland to the release of the performance, revealed in a new way to the Irish theater the essence of the director's profession. And not only as a professional director who can embody on the stage with dramaturgical text, but also as a versatile artist, which is at the same time organizer of the rehearsal process, a deep interpreter of the thoughts of the author and teacher in approach to working with actors over the performance.

In addition to the high artistic result, it is necessary to note the impact of the work of the Knebel on the organization of the rehearsal process.

Staging the Kneubel became a revolutionary, having caused serious changes in the activities of the Abby Theater and an increase in attention in Ireland to Russian theater culture.

The name of Stanislavsky was named one of Dublin theater schoolsHis method is widely known in Ireland. In 1984, the Ebby Theater was on tour in the Soviet Union. On the scenes of Irish theaters of Chekhov became one of the most popular playwrights. A few years after the Knebel, another Russian director, V. Monakhov, successfully put in Abbi Tietra "Uncle Vanya". Interest in Chekhov covers the wide ranges of Irish actors, directors and playwrights. So, at the beginning of the eighties, the Northerland playwright Brian Fryl decided to make a new translation of the "three sisters" for the "Field Tieter organized by him. Not knowing Russian, he gathered all the translations of this play in English, held a huge research work and made one more, perhaps the longest translation made with large love, a good understanding of Chekhov characters, on an excellent literary language. With careful attention to the text, the production was carried out by a young director Stefan Ria.

Chekhov influenced the work of many modern Irish playwrights, including Tom Murphy, Thomas Kilroy, Hugh Leonard and Brian Frill, later the translations of many Pieces Chekhov. If earlier the political, social problems of time rose sharper in most of the stations of Irish playwrights, then after acquaintance with the work of the Russian classics, there was more often a way to moral, philosophical generalizations having modern universal importance.

Thus, the "cherry garden" A.P. Chekhov in the formulation of M. O. Knebel played an outstanding role not only in the introduction of the Irish theater to the work of the Great Russian writer and playwright, but also in updating the scenic art of Ireland, its director and drama.

In Germany and countries Northern Europe Chekhov's plays are not going from the scene: Peter Stein, Ralph Longbakka (Finland), etc. Starting from the 1950s, Chekhov's play is widely put in China, Korea theaters, Japan. Chekhov is one of the most famous and influential European playwrights in the United States.

For the first time, Chekhov-playwright was represented by the German public to the city theater in Alton, who put on December 8, 1900 "Proposal" and after 3 days - the Maudville "Bear". These two humorous single-acting plays and to this day are mostly put in German theaters.

Only due to the tourists of the famous Moscow troupe, which took place in the spring of 1906, Chekhov as the playwright conquered complete recognition in Germany (Chekhovsky novelism struck the road back in 1900-e). Under the leadership of Stanislavsky, "Uncle Vanya" and "three sisters" are carried out, and both plays have an exceptional success that should be considered much more significant that Berlin at that time became the leading theatrical city Thanks to the activities of Brahma and Reanardt, Kainz and Matkovsky.

German criticism was full of laudatory feedback about these ideas, and although the plays were put in Russian, the audience understood Chekhov better than they understood him during the idea of \u200b\u200bthe "Uncle Vani" in German. Especially praised amazing subtlety of mood transmission, sound technique and excellent troupe teamwork. Even such a discreet critic, like Alfred Carr, enthusiastically exclaimed: "Russians are an excellent ensemble. It has not yet happened that the game in the theater brings me almost to tears. It happened here. " Gerhart Hauptman, who also visited the idea, expressed his appreciation to artists. His biographer Bal reports that even in 1932, therefore, a quarter of a century later, great dramaturg. With all the dequision, I remembered the events of theatrical life of that period.

The impression produced by the Moscow troupe has long influenced the development of the German theater, but the acquaintance with the execution of skills of Stanislavsky was also the consequence that in the first time no German theater was drought to put Chekhov, only in 1909 an attempt was made to put "seagull ", The work that was not supplied with the Art Theater. But the performances in both Breslava and the Hebbelian Theater in Berlin were not prepared sufficiently prepared, and therefore did not have success. After such an unsuccessful attempt at the past eight years, Chekhov's drama did not appear on the Berlin scene. Meanwhile, Munich, where later Berlin and Vienna began to put the play of Chekhov, convinced that they could have success performed by German artists. This success fell to the share of "Seagulls", which for the first time in Munich was delivered on October 4, 1911 in the Operetta Theater. "Seagull" then withstood 25 subpetrations - it was the first durable success of Chekhov on one of the German scenes. Obviously, the play was very carefully intended, and she was perceived by the audience as a sophisticated, imbued with a sad mood mapping of Russian reality. The critic of the Munich newspaper Algemeine Zayteung on the basis of this presentation came to the conviction that Anton Pavlovich Chekhov is not only one of the most talented Russian novelists, but "Also, the playwright of great power, thin depicting mood, an artist amazingly great skills."

Meanwhile, was translated into German and the last of large dramas Chekhov - "Cherry Garden". The translation of the play in which Lyon Feakhtvanger took part and was published in Munich in 1912 by Georg Müller. The premiere of this play in German took place, however, only in 1916 on the stage of the new Viennese theater. In October 1918, i.e., immediately before the revolution (in Germany - A. G.), this play was delivered by Friedrich Kaisler in the Berlin People's Theater.

The play was exceptional success and was shown 27 times. This was facilitated by not only a favorable political situation - after all, the play, written in 1903, is full of premonitions of impending change, but also the undisputed game, which was unanimously highly appreciated by the press. Kaisler himself played Gaeva, his wife, Elena Fedmer - Ranevskaya, Jürgen Feling - Trofimova.

After this excellent production during the twenty years, no German theater decided to put a "cherry garden". Only in the fall of 1938, the Berlin "German Theater" resumed the production of this play (this will be discussed below).

The end of the First World War caused a huge rise of foreign literature in general and drama in particular, from which Chekhov won.

It seems strange that the director of such a magnitude like Max Rebanardt, the fan of Stanislavsky, is still called to show Chekhov in his entire depth, he never put the works of this playwright. Although during his Berlin activity "German theater" two Chekhov plays were delivered, however, the director of both performances was not Renahardt.

In 1922, the Moscow Art Theater toured again in Germany, twice - in Berlin (February - March and September); Again they played "Uncle Vanya" and "Three Sisters", this time also "Cherry Garden". But the echo of tour in the Berlin public was significantly weaker than the first time: after all we are talking About the period of economic and political crisis, which, naturally, has greatly reduced interest in art. In addition, the spring tour took place just when the strike of railway workers and the Berlin Supplemental enterprises strongly paralyzed the life of the city. However, experts, as before, were able to estimate the playful performances ... So, for example, Alfred Kerr wrote about the formulation of the "Cherry Garden": "The game ... just amazing ... everything is great, great, great ...".

In Berlin, after this successful setting, for a long time there was a lull regarding the plays of Chekhov, while in the province of his great dramaturgical works were held before 1928. In the next ten years, only one-acting humorous plays could be found in the repertoire of German theaters.

Only in 1938, that is, shortly before the Second World War, the "German Theater" in Berlin again put the Chekhov "Cherry Garden".

We used great success at this time in Berlin and "three sisters". The premiere took place on January 2, 1941, and the play did not go from the scene within 25 days. In connection with the war against the Soviet Union, the latest possibilities were interrupted cultural Communication With the Russian world. After the collapse of the Hitler's Germany, foreign and, first of all, Russian authors, and together with them and Chekhov, are experiencing a revival, the first phase of which lasted until 1951.

In Germany, a record number of ideas of Pieces Chekhov in Germany is different in 1948, when the "seagull" and "cherry garden" were put in the theaters of the cities of Grayce, Düsseldorf, Munich, Halle and Rochet. At seven other scenes in both parts of Germany, "Bear" and "Offer" were "Bear". Especially long (36 performances) went to the Dusseldorf Theater "Seagull", assigned by the director Grundgeis, who he himself played trigorin. But this success later was blocked by success, which fell to the same play in 1954 on the stage of the West Berlin theater in Kurfüsserdamma (48 supplies) and was the largest success of Chekhov play in Germany. This was facilitated by the fact that the role of Nina performed, for the first time in Berlin after the war, the favorite of the public Cate Gold.

year, the year of the fiftieth anniversary of the death of the great Chekhov was marked by a new approach after a two-year relative clutch. At the same time, each of the big plays Chekhov was again prepared by individual theaters: "Three sisters" in Leipzig, "Uncle Vanya" in Stralsund, "Cherry Garden" in the Theater of Hylpert in Göttingen and "Seagull" in West Berlin. Huge success fell to the share of Leipzig production, which was then shown in the city of Kassel.

Only by the mid-1960s. in german Theater There were certain prerequisites for revising the reception of Chekhov drama. For the first time in the history of the perception of Czech's creativity in Germany, there was a shift of emphs in the direction of his dramatic heritage, which was reflected in the increased number of editions of his plays, and in an unusually high interest in them theater directors. By this time, Chekhov had already entered the German history and the theory of drama as a writer whose plays anticipate the theatrical art of the 20th century.

An even more active renewal of the view to Chekhov's playwriter contributed to the change of generations in the German theater. Young directors P. Stein (Stein), P. Tsek (Zadeck), headed famous theaters Germany, they turned to the world legislative experience, especially since in France, Italy and England, Chekhov's play has long taken a suitable place on stage.

Serious impulses for the further development of the discussion about the modern stage reading of the "Cherry Garden" (P. Tsadek, 1968; R. Nelte, 1970; Litzau, 1970; O. Kreichi, 1976), made in The line of modern direction is the "director theater".

With the individual selection of artistic and aesthetic means of expression, these directions sought to separate the Chekhov play from her "image" created by Stanislavsky. The second determining trend was expressed in the search in the "Cherry Garden" of some universal content, in the "globalization of the conflict". The interpretation vision of the play was also accompanied by rather sharp interference in the original, rehabilitation of the author's text, which largely reflected a subjective look at Chekhov. Nevertheless, these productions dismissed the Chekhov "Cherry Garden" from the narrow framework of its usual correlation with positivistic naturalistic trends end XIX. century, opening space for modern reading.

The beginning of the 1980s. For the German Theater was marked by a global event - the Paris Premiere of the "Cherry Garden" in the production of P. Brook (1981). This valuable legacy experience was actively analyzed by German directors and theatrical critics. At the same time, they paid special attention to the ambitious essence of characters, as well as fancy psychological drawing Chekhov's images, so masterfully reproduced by P. Bruch on stage. The work of the director has introduced significant adjustments to the reputation of a frivolous woman who entrenched the Ranevskaya in the German scene. In the formulation of Bruk, the levity of the heroine was balanced by the impulses of a sincere deep feeling, her careless joy alternated with despair, laughter with tears, egoism with kindness. All this revealed the character of Ranevskaya from the new side, giving a significant impulse for its rethinking in the German theater.

Evidence of the ongoing search "key" to Chekhov poetic is a wide ideological and stylized range of modern productions of the "Cherry Garden" in Germany. And today, the play provides directs of a huge space for a wide variety of interpretations and assessments, but at the same time requires them particularly attentive reading and sensitivity.

IN last decade The subject of close attention was the complex genre nature of the final Chekhov work. Visual example How the alignment of new accents can change the overall sound of the play, serve two productions of the "Cherry Garden" of one of the largest German directors - P. Stein, which are based on different genre dominants. The first "cherry garden" (Berlin, 1989) was imbued with sincere sympathy to the wound and Haeva - the owners of the estate, whose era, whose personification was a cherry garden, passed. In the coordination of the sympathies of the director, it was allowed to doubt only an easy irony in the interpretation of the images of these heroes, which, even experiencing a catastrophe, did not forget about the grace of the manner.

The result of the reflection of the director over the genre specifics of the play was expressed in the second stage of the "Cherry Garden" (1995), in which the abundance of comedian-farce scenes sometimes put into doubt the dramatic start of the work.

So, all of the above allows us to conclude that from the most significant plays of Chekhov, most often theaters of Germany were "seagull" (18 times until 1958), 15 times - "Cherry Garden", and 12 times from them after 1945. This suggests that currently the "cherry garden" is the most beloved Chekhov play.

Conclusion

"Cherry Garden" is not only the result and the peak of Chekhov drama. In this comedy, the author summarizes all his artistic achievements, there is a feeling of the impact of its prose, a characteristic combination of lyrics, comedy, satire and tragedy. Behind the comedy is tangible tragedy. Chekhov says goodbye to all the old leaving Russia, realizing the impossibility of its further existence.

But not in vain critics determined the fundamentally new sound of the play "Cherry Garden" as "social optimism". Approaching, waiting for a new life was a sign of the era. And Chekhov acutely felt it.

The "Cherry Garden" was a deep, talented and wise response A.P.hekhov-artist on growing revolutionary events that were supposed to bring the long-awaited renewal of life and enable the liberated person to devote himself to a reasonable creative activity subordinate to the wonderful idea Turning all Russia to the "New Blooming Garden".

Piece Chekhov was put on the scenes of Moscow, St. Petersburg and the provinces, including a huge number of her interpretations abroad arises. For the execution of the roles in them were taken by the talented Russian actors.

Staging the Pieces of Chekhov on the scene of MCAT Whether the event was a big social significance. Protesting against the bourgeois reality, Czechs simultaneously anticipate the impetitive storm, woke up to the best future, to a beautiful life, when people are free and happy. This melancholy but the best life and faith in the fact that it will certainly come, were penetrating in the performance of the art theater.

The unity of the ideological foundations of Czech and Mkhata's creativity was reflected in the bench of the innovation of the theater in the field of scenic art. K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko united with Czech Consciousness of the need for deep stage reforms aimed against vulgarity, routine and caasens who flourished in the bourgeois theater of those years. Fighting anti-handicrafts, stamps, naigry and lattice in acting, trying to bring the truth of art to life as much as possible, MCAT saw a faithful ally in Chekhov.

On the scene of the Moscow Art Theater "Cherry Garden", and then all the other plays Chekhov for the first time appeared in front of the viewer as new page In the history of Russian and world theatrical art.

The appeal of the young theater to the work of Chekhov was not random. The Moscow Art Theater, created during the revolutionary lifting, before the first Russian revolution, made an expressive of the thoughts and sentiment of the advanced democratic intelligentsia, the very intelligentsia, the rulers of the spirit of which were Chekhov and Gorky. Czech's creativity, imbued with a protest against an autocrete-bureaucratic system, hatred for the vulgarity of the gray Russian daily, to enslavement and humiliation of the human person, was deeply crushing the team of the Moscow Art Theater. No wonder on his stage alone, all the plays Chekhov, and "three sisters" and "cherry garden" he writes specifically for the artistic theater.

Dramaturgy Chekhov helped to take form and decide the art of the artistic theater. Each new statement of Pieces Chekhov was a step towards achieving the artistic truth, which the theater raised its art.

In these searches, the most important thing that distinguished the art theater is extremely subtle psychological performance, based on the opening of the internal "subtext" of each, even the smallest role.

Emotional saturation of acting, penetration into the nature of the nature of the image, the speech of the actor, deprived of all the shade of unnaturalness and porous, declamation, suit, make-up, manner to stay on stage - all this was re-developed by the artistic theater as a result of the development of the wonderful traditions of the Russian realistic theater. Artists of the Art Theater lived on stage in the full, comprehensive sense of the word, showing the filigree skill in the transfer of the most subtle mental movements. The deepest, strong senses of a person, in life, usually remaining hidden, they were detected in the MHT thin, but a clear pattern, was made by understandable and close to the viewer, called hot, sincere response in it. Artists of the Art Theater in their game embodied the claims of Chekhov, who, seeking the utmost truthfulness of acting, wrote: "The suffering should be expressed as they are expressed in life, i.e. not legs and not hands, but tone, look; Not gesturing, but a grace. " Only the artistic theater managed to achieve that everything would be "just as difficult and just at the same time, as in life. People have dinner, only dinner, and at this time their happiness is being made and smashed their lives. "

Taking care that it is possible to express deeper by the idea of \u200b\u200bChekhov's plays, the director of the artistic theater created such a stage atmosphere of the performance, which immediately reported the viewer an unusually faithful feeling of the truth of all what was happening on the scene. It was not intrusive illusionism, naturalistic copying of unimportant parts of life: a stage atmosphere, which was achieved in chekhov performances The art theater was a realistic reproduction of life described in the play.

The merit of the new, most complete and interesting reading of Chekhov in soviet period It also belongs to the art theater. Based on the knowledge of the life of the Soviet country, enriched with the experience of the work on the playwright of Gorky and soviet writersThe theater returned to the work of his beloved playwright.

So in various parts of our Motherland, as well as in Germany, Great Britain, Ireland, and with a new force, poetry and Romance Chekhov, his passionate condemnation of the entire oblique, small, mesh and it great Vera In life, in a person who creates her.

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Problem Topic Pieces "Cherry Garden"

In the last play by A.P. Chekhov "Cherry Garden" Theme has become the usual at the turn of the century - the sale of estates and once a luxurious cherry garden of the disassembled nobles. However, the sale of the garden is what lies on the surface itself, and in fact the theme and idea of \u200b\u200bthe play "Cherry Garden" is much deeper.

The decline of the nobility as class and the loss of their generic nests, the destruction of the lifestyle formed by the centuries, the emergence of a new class of entrepreneurs going to change the nobility, revolutionary ideas about the change in life, causing the author doubt, all this and served as an idea of \u200b\u200bthe plays. However, Chekhov's skill was so great that his final play turned out to be so multi-layered that its meaning was much deeper in the initial plan. In addition to the most visible topic, a number of other no less significant can be distinguished. This is the conflict of generations, and misunderstanding each other, the inner discord of the characters, a prisoner in the inability to love and hear others, aware of the destruction of their roots, oblivion of memory of the ancestors. But the most up-to-date and today the topic of the work of the "Cherry Garden" is the destruction of beauty human life and the disappearance of linking links between generations. And the garden itself in this context becomes the symbol of the destruction of the whole culture. And after all, it's not by chance in the second action of Charlotte, Ivanovna turns out to be a gun, because, according to Chekhov himself, a gun must be shot. But in this play, the shot never sounded, and meanwhile the killing of the garden, personifying beauty, occurs.

The main theme of the play

So what topic can be allocated as the main one? The topic of the "Cherry Garden" play was not chosen by chance, Chekhov was very interested in this problem, since his family at one time lost his home sold for debts. And he always tried to understand the feelings of people losing their native nest, forced to tear away from their roots.

Working on the stage of play, A.P. Chekhov consisted in dense correspondence with actors involved in it. He was extremely important that the characters were presented to the public exactly as he thought. Why did it have great value For playwright? Anton Pavlovich became the first writer who did not share the heroes on positive or negative. Each image created by him is so close to real peoplethat they are easy to find some features and their familiar themselves. His expression: "The whole meaning and drama of a person inside, and not in external manifestations: people have dinner, and only dinner, and at this time their fates are folded and smashed life." Prove that the Chekhov in the first place was of interest to humanities. After all, as in life there are no people representing the absolute evil or good and on the scene. And at all, it was not by chance that Chekhov called a realist.

It can be concluded that the main topic of the "Cherry Garden" Chekhov is the life shown through the created images. Life in which it is very often desired to disperse with reality. After all, people do the story, and there are no ideal people, which is very clearly and showed Anton Pavlovich.

The image system as a means of disclosure the topic of the work

The system of images in the play is divided according to the heroes to a certain time. This is the past, present and future. What remains in the past? Easy, beauty, centuries-old lifestyle, understandable to everyone. After all, there were only "men" yes "Lord". Gentlemen lived in their pleasure, and simple people worked. And those and others floated within, and there was no need to make solid decisions regarding their lives, because everything was so established. But on the shift the old regime came the cancellation of serfdom. And everything was mixed. It turned out that smart, sensitive, responsive and generous aristocrats cannot fit into the coming era. They still know how to see and feel the beauty of them surrounding them, but they cannot be saved. They are opposed to the present. Real it is rigid and cynical. Lopahin is the present. He knows how to see and appreciate the beauty, but the ability to make a profit firmly sits in his mind. It is bitter aware that he destroys the past, but can not do anything else.

And finally, the future. It is so foggy and gloomy, which is impossible to say what it will be: joyful or bitter. However, it can be seen that the future in the present takes place with the past. Survise the value related ties, attachment to their home, and one more topic of work becomes noticeable: loneliness.

Chekhov ahead of the development of the theater for many years. His works are so thin in its content that it is very difficult to allocate some one main theme of the play. After all, analyzing them, it becomes clear that he sought to show the whole depth of life, thereby becoming an unsurpassed master in the image of "submarine flows".

Test on the work

Introduction

Chekhov as an artist can not already

compare

writers with Turgenev,

Dostoevsky or with me. Chekhov

your own form like

impressionists. Watch, how

as if a person without any

parsing with paints, which

come across him at hand and

no relation to each other

these strokes do not have. But go away

for some distance

look, and in general

it turns out a solid impression.

L. Tolstoy

Contemporaries of Plays Chekhov seemed unusual. They differed sharply from the usual dramatic forms. They did not have the seemed necessary strings, climax and, strictly speaking, dramatic action as such. Chekhov himself wrote about his plays: "People just dine, wear jackets, and at this time their fates are solved, they break their lives." In Chekhov's plays, there is a subtext that acquires special artistic significance

"Cherry Garden" - the last work of Anton Pavlovich Chekhov, finalizing him creative biography, His ideological and artistic quest. The new style principles developed by them, the new "techniques" of the construction of the plot and the compositions were embodied in this play in such shaped discoveries that elevated a realistic image of life to wide symbolic generalizations, before the transmission of future forms of human relations.

Objectives of the abstract:

1. Get acquainted with the work of A. P. Chekhov "Cherry Garden".

2. Allocate the main features of the work, analyze them.

3. Find out the meaning of the name of the play.

4. Make a conclusion.

cherry garden Chekhov

"Cherry Garden" in the life of A. P. Chekhov. History of creating a play

Encouraged with excellent productions in the Art Theater "Seagulls", "Uncle Vanya", "three sisters", as well as the huge success of these plays and watervals in the metropolitan and provincial theaters, Chekhov thinks to create a new "funny play, where Chort walked a rocker." "... minutes to me find a strongest desire to write 4-point water or comedy for the art theater. And I will write if no one hits, only I will give to the theater not earlier than the end of 1903. "

The news of the idea of \u200b\u200bthe new Chekhov play, reaching the artists and the directors of the Art Theater, caused a big rise and the desire to forcing the work of the author. "I said in the troupe," reports O. L. Bookper, "everyone picked up, hacking and eager." Letter O. L. Knipper A. P. Chekhov from 23 Dec. 1901 correspondence A. P. Chekhov and O. L. KNNPPPER.

Director V. I. Nemirovich-Danchenko, who, according to Chekhov, "requires a play," wrote Anton Pavlovich: "I stay with a decisive belief that you have to write plays. I go very far away: throw felting for the sake of plays. You never so unfolded like on stage. " "ABOUT. L. whispered to me that you are decisively taken for comedy ... The sooner your play is, the better. More time will be for negotiation and eliminate different mistakes ... in a word ... Write a play! Write plays! " Letters V.I. Nemirovich-Danchenko A. P. Chekhov from April and December 1901 .. But Chekhov did not hurry, she who slept, "worked in himself" the idea, did not share with anyone, he thought about "magnificent" (according to his Words) the plot without finding the forms of artistic incarnation still satisfying it. A play "I cut a little bit into the brain as the earliest dawn, and I still do not understand what she came out of her, and she changed every day."

In his notebook, Chekhov made some particular particular, of which many were later used by him in the "Cherry Garden": "For the play: the liberal old woman dresses as young, smokes, can not without society, is pretty." This entry, although in the transformed form, entered the characteristics of the Ranevskaya. "The acting face smells of fish, everyone tells him about it." This will be used for the image of Yasha and the relationship towards Hima. Found and inscribed in the notebook, the word "inexpensive" will be done by the play of the play. Some facts inscribed in the book will be reproduced in the comedy due to the way Gaeva and astable Character - the second husband Ranevskaya: "The cabinet is in the presence of a hundred years, which is seen from the papers; Officials seriously cope with his anniversary, "Mr. owns the villa, near the Mentons, which he bought for money, reversed from the sale of estates in the Tula province. I saw him in Kharkov, where he arrived in the case, lost to the villa, then served on railway, then died. "

On March 1, 1903, Chekhov told his wife: "For the play, the paper has already laid on the table and wrote title." But the process of Scripture was hampered, he was hampered by many circumstances: severe Chekhov's disease, the fear that his method is "already outdated" and that he will not succeed to successfully process the "difficult plot".

K. S. Stanislavsky, "Tomnicious" in the Chekhov play, reports Chekhov on the loss of all taste to other plays ("Pilts of the Company", "Julius Caesar") and the directorial preparation for the future play begun: "Keep in mind That, just in case, wrote into the phonograph of a sweater shepherd. It turns out wonderful. " Letters K. S. Stanislavsky A. P. Chekhov from 21 Feb. June 22, 1903

O. L. Kripper, like all the other artists troupe, "with hellish impatience" waiting for the play, also in his letters to Chekhov dispelled his doubts and fears: "You need a writer, scary ... Every your phrase is needed, and You are even more needed ... unnecessary thoughts are expensive ... Write and love every word, every thought, every soul, which you will learn, and know that all this is necessary for people. There is no such writer as you, no and no ... Your plays are waiting like manna heaven. " Letter O. L. Knipper A. P. Chekhov from 24 Saint. 1903

In the process of creating the play of Chekhov, it was shared with his friends - figures of the artistic theater - not only doubts, difficulties, but also on future plans, changes and luck. They will learn from Him that he is hardly able to "one main acting person", it is still "not well thought out and prevents" that it reduces the number of actors ("Intimenny," the role of Stanislavsky - Lopakhin - "Nothing for yourself ", the role of Kachalova - Trofimov -" Good ", the end of the role of the book - Ranevskaya -" Not Dough ", and Lilina W Vari's role will" be satisfied ", that IV Act," meager, but spectacular in content is spelled Easy, as if folded, "and in the whole play," how neither she is boring, there is something new, "and, finally, that its genre qualities and peculiar and quite determined:" The whole play is cheerful, frivolous. " Chekhov also expressed concerns, as if some places did not "hooked censorship."

At the end of September 1903, Chekhov did not finish the play and began his correspondence. The attitude of it to the "Cherry Garden" at this time hesitates, he is pleased, the characters seem to him "live people", he reports that he has lost all appetite, roles, except for the governess, "do not like". The playback of the play went slowly, Chekhov had to redo, in mind, write a re-some particularly not satisfying his places.

On October 14, the play was sent to the theater. After the first emotional reaction to the play (unrest, "trepidation and delights") in the theater began intense creative work: "fitting" roles, choice the best performers, the search for a common tone, meditation over the decoration of the performance. With the author, lively exchanged opinions first in letters, and then in personal conversations and at rehearsals: Chekhov arrived in Moscow at the end of November 1903. This creative communication did not give, however, it was more difficult, it was more complicated. Something in which the author and theatrical figures came, without any "transactions with conscience" to a common opinion, something caused doubt or rejection of one of the "parties", but that of them, which did not consider it a matter of fundamental to their concessions; Something outlined discrepancies.

Otoclav Piez, Chekhov did not consider her work on her finished; On the contrary, quite trusting the artistic alarms of the leaders of the theater and artists, he was ready to produce "all alterations, which will be required to comply with the scene," and asked him to report criticism: "I will correct; After all, it's not too late, you can still redo the act. " In turn, he was ready to help direct director and actors asked for him with requests, find the right paths of the stage incarnation of the play, and therefore rushed to Moscow at the rehearsal, and the bookper requested that she "did not learn her role" before his arrival and not I would order dresses to the Ranevskaya.

The distribution of roles, which was the subject of passionate discussion in the theater, was very worried about Chekhov. He suggested his distribution option: Ranevskaya - Knipper, Gaev - Vishnevsky, Lopakhin - Stanislavsky, Varya - Lilina, Anya - Young Actress, Trofimov - Kachalov, Dunyasha - Halutina, Yasha - Moskvin, Passerby-- Gromov, Firs - Artem, Pister - Grigunin, Piphodov - Luzhsky. His choice in many cases coincided with the desire of artists and the Directorate of the theater: for Kachalov, Knipper, Artem, Gribunina, Gromovoy, Halautina after the "fitting", established by the Czech roles. But the theater did not blindly follow the instructions of Chekhov, put forward his "projects", and some of them were willingly accepted by the author. The offer to replace in the role of the Epodsov of the Luzhsky Muscovites, and in the role of Yasha Moskvin - Alexandrov caused full approval of Chekhov: "Well, it is very good, the play will only benefit from it." "Moskvin will come out magnificent ipaths."

With a smaller hunt, but still agree to Chekhov at the permutation of the executors of two women's roles: Lilina is not cooking, and Anya; Varya - Andreeva. Chekhov does not insist and at its desire to see in the role of Gaeva Vishnevsky, as it is quite convinced that Stanislavsky will be "very good and original Gaev", but he broke up with the thought that the blades will play not Stanislavsky: "When I wrote a blades, That I thought it was your role "(t. XX, p. 170). Stanislavsky, fascinated in this image, as, however, and other players of the play, only then finally decides to transfer the role of Leonidov, when after searching, "with a double energy in itself," does not find it satisfying its tone and drawing. Letters K. S. Stanislavsky A. P. Chekhov from 20, 31 Oct, November 3, 1903 Muratova in the role of Charlotte also does not cause delight of Chekhov: "She, perhaps, is good," he says, "but not funny "But, however, in the theater of opinions about it, as about the performers, Couples were partitioned, a solid belief that Muratova would succeed in this role.

Live discussion with the author was subject to decoration issues. Although Czechs and wrote Stanislavsky, which rely on the theater completely ("Please do not hesitate about decorations, I submit to you, amazing and usually sit in your theater in the theater, but still Stanislavsky, and the artist Somov called Chekhov in The process of their creative quest for the exchange of views was specified by some author's remarks, offered their projects.

But Chekhov sought to transfer all the attention of the viewer to the internal content of the play, on social conflict, so he was afraid of hobbies to the landing part, the detail of life, sound effects: "The sleep part of the play in the play, I saw to a minimum, no special scenery."

Disagreement between the author and director caused II ACT. Even working on the play, Chekhov wrote Nemirovich-Danchenko, that in the second act he the river "replaced the old chapel and a well. Stack fading. Only ... You will give me a real green field and the road, and an extraordinary for the Dal scene. " Stanislavsky contributed to the scenery of the II Act still Overactions, an abandoned cemetery, a railway bridge, the river was away, on the outstanding Senokos and a small shop, on which the walking company leads a conversation. "Let me," he wrote Chekhov, "into one of the pauses to skip the train with the smoke," and reported that at the end of the act there would be a "frog and corrider." Letter K. S. Stanislavsky A. P. Chekhov dated November 19, 1903. Chekhov wanted to create only the impression of the space in this act, was not going to clutter the consciousness of the viewer with extreme impressions, so his reaction to Stanislavsky's plans was negative. After the performance, he even called the scenery of the II act "terrible"; At the time of training, the Piesen Theater writes a book that Stanislavsky "needs to keep" from "Trains, Frogs and Coro Stelters", and in letters to the very beginning of Stanislavsky in a delicate form expresses its disapproval: "Senokos is commonly June 20-25, in this Time the corrider seems no longer screaming, the frogs are also silent by this time ... There is no cemetery, it was a long time ago. Two or three plates lying randomly - that's all that remains. The bridge is very good. If the train can be shown without noise, without a single sound, then - Fly. "

The most fundamental discrepancy between the theater and the author was found in understanding the genre of the play. Even working on the "cherry garden", Chekhov called the "Comedy" play. In the theater, she was understood as a "true drama". "I hear how you say:" Let me, but this is the same farce, "Stanislav's dispute begins with Chekhov --... No, for a simple person it is a tragedy." Letter K. S. Stanislavsky A. P. Chekhov from 20 Oct. 1903

Understanding the director of the theater of the Genre of the Piesel, dispelled with the author's understanding, determined many essential and private moments of the scenic interpretation of the "Cherry Garden".

Past passionately looks in the coming "

A. A. Blok.

Piece Chekhov "Cherry Garden" was written in the period of public lifting masses in 1903. It opens another page of its multifaceted creativity, reflecting complex phenomena of that time. The play is striking us with his poetic strength, drama, perceived by us as the acute impact of the society of society, the exposition of those people whose thoughts and acts are far from the moral norms of behavior. The writer brightly shows deep psychological conflicts, helps the reader see the display of events in the souls of heroes, makes us think about the sense true love and true happiness. Chekhov easily tolerates us from our present in the distant past. Together with his heroes, we live next to the cherry garden, we see his beauty, we clearly feel the problems of that time, together with the heroes we are trying to find answers to sophisticated questions. It seems to me that the play "Cherry Garden" is a play about the past, the present and future not only her heroes, but also the countries in general. The author shows a clash of representatives of the past, present and laid in this present. Lopakhin denies the world of Ranenevskaya and Gaeva, Trofimov - Lopakhina. I think that Chekhov managed to show the justice of the inevitable care with the historical arena such, it would seem harmless to the owners of the Cherry Garden. Chekhov reveals an important problem - the problem of the outgoing life, its worthlessness and conservatism. Ranevskaya - Mistress of the Cherry Garden. The cherry garden itself serves for her "noble nest". Without him, life for Ranevskaya is unthinkable, his whole fate is connected with him. Andreevna's love says: "After all, I was born here, my father and mother lived here, my grandfather, I love this house, I do not understand my life without a cherry garden, and if it was so to sell it, then sell me with the garden." It seems to me that she suffers sincerely, but soon I understand that she actually thinks not about the Cherry Garden, but about his Parisian lovers, to whom she decided to go again. I was just amazed when I learned that she was leaving for money sent by Anna Her Yaroslavl grandmother, leaving, without thinking about the fact that she assigns themselves other people's money. And this, in my opinion, egoism, but some special, who gives her actions to the visibility of goodness. And this is at first glance, so. After all, it is Ranenskaya who cares more than all about the fate of the Firs, agrees to give money to the gamble, it is her whipping loves for no time good relations to him. Gaev, Radane's brother, also a representative of the past. He, as if complements Ranevskaya. Gaev abruptly argues about public good, about progress, philosophy. But all these arguments are empty and bother. Trying to console any, he says: "Interest we pay, I am convinced. I honor my honor than you want, I swear, the estate will not be sold! Happiness to swear!" I suppose, Gaev, and does not believe that

What does says. I can not not say about Lakoe Yasha, in which I notice the reflection of cynicism. He is outraged by "ignorance" around others, speaks of his inability to live in Russia: "nothing can be done. Here I am not for me, I can not live .... I looked at ignorance - it will be with me. "In my opinion, Yasha turns out to be a satirical reflection of his owners, their shadow. The loss of the Haevam and Ranessean estate, at first glance, can be explained by their carelessness, But soon, in this, the activities of the landowner of the meal, who tries to keep his position, who struggles to keep his position, is accustomed to him that money themselves regularly go into hand. And suddenly everything is broken. He is desperately trying to get out of such a situation, but his attempts are passive, as And at Gaeva with Ranenevskaya. Thanks to the meal, I realized that neither Ranevskaya nor Gaev is capable of any activity. On this example, Chekhov convincingly proved to the reader the inevitability of the departure of the nobility estates.

A deft merchant and earliest Lobakhin arrive at replacement. We learn that he

Not a noble class than somewhat sin: "My father, though, was a man, and here in a white vest,

In yellow shoes. "Realizing the complexity of the Ranevskaya position, he offers her a project for

Garden reconstruction. In the lopakhin, the active resident of the new life, which gradually and

It is inevitably pushing the life of a meaningless and worthless life. However, the author makes it clear that

Lopakhin is not a representative of the future; He exhausted himself in the present. Why? It's obvious that

The blades leads the desire of personal enrichment. Exhaustive characteristic gives him Peter

Trofimov: "You are a rich man, will soon be a millionaire. This is how in the sense of metabolism is needed

The predatory beast, who eats everything that comes across to him on the way, so you need! "Lopahin, buyer

Garden, says: "We will configure cottages, and our grandchildren and great-grandchildren will see a new life here. This new life

It seems almost the same as the life of Ranevskaya and Gaeva. In the image of the blades, Chekhov shows us

How predatory capitalist entrepreneurship is anti-human in nature. All this

Involuntarily pursues us to the idea that the country needs completely different people who will be erected

Great things. And these other people are Petya and Anya.

One fleeting phrase of Chekhov makes it clear that it is Petya. He is the "Eternal Student." In my opinion, this is all said. The author reflected in the play rise of student movement. That is why I guess, and the image of Petit appeared. All in it: and liquid hair, and untidy look - it would seem, should cause disgust. But this does not happen. On the contrary, his speeches and deeds cause some sympathy. It is felt as the acting places of the play are tied to it. Some relate to the pave with light irony, others, with undisguised love. After all, it is he who is the personification of the future in the play. In his speeches, a direct condemnation of the dying life is heard, calling for a new one: "Doyut. I will reach or point to another way, how to get." And indicates. Indicates his ane, which he loves hotly, although it skillfully hides it, realizing that he was intended to be another way. He tells her: "If you have the keys from the farm, then throw them into the well and go away. Be free as the wind." Petya causes deep meditation from the Lopakhina, who in the soul jealous of the conviction of this "smear Barin", which he himself is so lacking. At the end of the play Anya and Petya, exclaints go: "Goodbye, old life. Hello, new life. These words of Chekhov can understand in his own way. What kind of new life was a writer, how did he imagine it? For everyone, it remains a mystery. But one is true and correctly always: Chekhov dreamed of new Russia, About the new Cherry Garden, about proud and free personality. For years, generations change, and Chekhov's thought continues to disturb our minds, hearts and souls.

To comprehend the meaning of the last play of Anton Chekhov, today theatrical figures, critics and ordinary spectators are also treated. What is the artistic value of the "Cherry Garden"? This play was interesting not only to contemporaries and compatriots of the author. It causes delight from readers and theatrical viewers around the world today, since it has all-in-law. What is main idea Pieces "Cherry Garden"? Writing on this work provided school programwill help answer this question.

An innovation of the author

The true meaning of the last play of Chekhov can be comprehended, if not to reduce it to historical and social explanations. What is the author's innovation dramatic work "The Cherry Orchard"? The writing on this topic requires an understanding that Chekhov saw life in other colors. In this, he was significantly different from the preceding authors. The writer invented his own way image of life in plays.

The novelty of the dramatic language, with the help of which the play was created, the first spectators seemed somewhat overloaded with detail. But behind small elements and, it would seem, the author's concept of life and man hid an extra detail. Chekhov believed that everything should be in the scene and simply as in reality.

Time in the "Cherry Garden"

The essay on the most famous play Chekhov should be started with the consideration of the characteristic features of social society to which the author belonged. This work is devoted to the outgoing time. Chekhov loved everything that was associated with life in Russian estate. The life of the inhabitants of the "noble nests" seemed to him poetic, not devoid of romance. The phrase "Russian estate" itself symbolizes warm family relationships.

Time does not wait!

This phrase that sounds in the play. And it acquires a special meaning when she is pronounced the owners of the estate. Their time leaves. The end of their carefree existence will come when the last property takes place, that is, when the cherry garden is sold.

The writings of Chekhov opened contemporaries an idea of \u200b\u200bwhat time they live. The author of the play witnessed the beginning turning period In the history of Russia, that he depicted in one of his most famous works. However, this does not detract from the relevance of the "Cherry Garden". The situation in which the heroes of Chekhov's play were familiar with all those who lived in the times of great political and social transformations. And therefore in the theaters around the world does not lose and today the product of the Russian classic "Cherry Garden" does not lose.

Essay on the topic "Image of Ranevskaya"

The main heroine is a bright representative Noble culture with all its shortcomings and advantages. Heritage of her ancestors dissolves in front of her eyes. On the stage social Life New heroes appear, and such as Ranevskaya, there is no place here.

In this work, the outgoing type of people of Chekhov depicted. "Cherry Garden" - an essay of the Russian classic, in which the collision of two worlds is recreated with the help of various techniques. Ranevskaya and Gaev inhabit. This world is beautiful, but more and more confirms its inconsistency. And the other - the world of deltsov, people of enterprising and deft, such as a merchant leopard comes to his place.

Ranevskaya is not adapted to new realities. She got used to lead a celebratory lifestyle without thinking about tomorrow. But this lady is formed and knows how to appreciate the beautiful. As a symbol of beauty, to understand that not everyone has been given, used Cherry Garden Czechs.

Essay on the topic "Garden Image"

At the end of the plays, the owner of the estate becomes a lopahin. The main property of the manor, which was inherited by the previous owners, is a wonderful cherry garden. But Lopahin does not see his beauty. And the fact is not that the merchant is deprived of the ability to receive the author more than once during the action indicates the intellectual and spiritual poverty of this hero.

The flowering garden symbolizes the perfect beauty, but leaving the past. Lopakhin sees in it just that he is big. And this is the idea of \u200b\u200bthe author, according to which a new type of humans, although it differs enviable practicality in financial matters, but will never be able to evaluate the spiritual heritage left by representatives noble rhodation.

An essay on the "Cherry Garden" theme cannot bypass such the topic as opposition to the main characters. And therefore, you should say a few words about the image of the blades, which is the opposite of the former garden owners.

Merchant

His father was a simple man, but after reform was able to open his shop and earn a small state. Lopahin brought up in rigor. Attachment to knowledge in his family was not a prerequisite in the pedagogical process. But thanks to its origin and congenital grip, Lopahin learned to live and survive. The main features of his character are determination and dedication. The merchant has long been dreaming about the Cherry Garden, and he still becomes its owner.

Chekhov did not endorse this character with obvious negative features. It should be said that all the characters in this play are pretty contradictory. In the works of true artists, only black and white can be present.

There is no one sophistication in the lopakhin that representatives of the ancient noble family possess. But he understands it and trying to compensate for his gaps in education. In addition, he is kind and in a sense, withoutten.

Artistic importance

An essay on the topic "Cherry Garden" is a task that is not by chance a Russian teacher asked their wards for decades. On the example of classic plots, the younger generation has the opportunity to see the shortcomings of their society.

Lopakhin - Nuvorish. He is an active and practical person. Such to him appeared in Russia in the nineties of the last century. And the blades are present today among us. There is nothing bad or dangerous. However, thanks to the play of Chekhov, a modern person can understand that it should not destroy the old way of life before the new.

The drama of the Russian classic roses vulgarity and pathos. Despite the seeming simplicity, the work has a deep multifaceted meaning. Understand it will help thematic creative task, that is, an essay on the topic "Chekhov," Cherry Garden ".