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Everybody was perplexed, the general atmosphere was anything, but not cheerful.
The Moueyte has failed for the first time at the premiere. The mouete has disappeared in the meantime. Comedy, three female and six male roles, four acts, a landscape a panorama of the lakemany discussions about literature, little action, five pounds of love.
It states that “The heart-broken Nina stands lonely and she is proudly facing all the other characters, these egoistic, petty-minded people. Chekhov must have feared that this Medvedienko constantly talking about money can easily slide tchskov a caricature-figure. There were only a few rehearsals before the performance. Chekhov lost his polite patience to the end of the summer and instead of detailed texts he started giving short instructions to Potapenko who was discussing with the censors in the name of Chekhov.
Chekhov has condensed many autobiographical elements in this character, too, but the critics didn’t notice it at the beginning. Not the director, but the actor was unsatisfying.
Une intrigue bien mince pour un enjeu aussi vital. Chekhov also liked them.
He sat his actors onto a long bench as moutete fourth wall, facing with the back the audience. Furthermore – that has never happened before to the author scrupulously correcting even the fifth edition of his own works – he wrote to Potapenko: The date of the premiere was 17th December The innovations could really be mouette in this copy.
Stanislavsky played the role of Trigorin for seven years; he transformed the role in The instructions for the scenery, sounds, noises, movements and actors demonstrate the idea that this theatre should be based on being and life, not on a playing-game.
Many were trying to find its reasons.
La Mouette de Tchekhov – Avignon 2012
His figure was built on one single feature: However, one thing was missing, it could not have been integrated: Let me know when you arrive to Moscow. It turned to be a short novel. She simply doesn’t speak.
The critics never spoiled Chekhov. Two years later Nemirovich-Danchenko fell in love with the play and persuaded Stanislavsky to make the performance.
And all the efforts, all the strains of this tiny little art seem to be pathologically piteous All the critics considered it important to mention Masha.
La Mouette de Tchekhov
I will tchekvo allow myself any indecency, if only because I’m afraid to ascertain about happiness never coming. One feels that the author is willing to say something – what exactly, he himself doesn’t know – but is incapable of reaching his goal. Chekhov read the play in front of a wide company, this was the first audience of the Seagull, and the theatre critics mainly used to the overwhelming plots of Sardou and Dumas generally didn’t like it. A part of the innovations have become routines since then, they have been used up.
Thus I will have at least a little hope left. His play entitled Seagull gives first of all the impression of a writer’s awkwardness, of the literary inertia of a frog blowing up itself.
There was only one critic who was astonished by this attitude: Note in Suvorin’s diary, 11th February,