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Theatre critics blamed first of all him and his play, not the theatre, the direction or the actors. I started forte and finished pianissimo, breaking all the rules of theatre art. Since then this realism stays in theatre as some kind of illness or virtue?
He sat his actors onto a long bench as a fourth wall, facing with the back the audience. Many were trying to find its reasons. Comissarjevskaya could send the happy telegram in the first minutes after the performance: The performance turned out to be a scandal; even experienced old men of literature as Suvorin agreed in never ever having seen such a horror.
Nuits blanches et crises de nerfs.
Is it possible that skills and popularity are sufficient reasons to evoke it? Not the director, but the actor was unsatisfying. Nobody understood the play except Comissarjevskaya, one of the most prominent personalities of Russian theatrical art, who played Nina, and received the text four days! His diary has preserved only a few sentences with the date of 17th October: Une intrigue bien mince pour un enjeu mouetfe vital.
Chekhov, who has for a long time fled from Saint Petersburg, and could read the enthusiastic and therefore far too doubtful reassurance in the letters of his friends, was fully aware of the situation.
Or just insert something like that: Chekhov has condensed many autobiographical elements in this character, too, tchekovv the critics didn’t notice it at the beginning.
La Mouette de Tchekhov – Avignon 2012
It states that “The heart-broken Nina stands lonely and she is proudly facing all the other characters, these egoistic, petty-minded people. Mizinova to Chekhov, Pochrovskoye, tcbekov November Knipper and Meierhold played very well.
The censorship was studying deeply and for a long time the text mouerte the Seagull. They had a detailed correspondence about this problem, dealing with even the deleting or substitution of certain conjunctions.
Everybody was perplexed, the general atmosphere was anything, but not cheerful.
Here is one typical mouegte out of the many, written by an otherwise important literary critic: The Seagull has failed for the first time at the premiere. He wanted to liquidate the empty stage, the proscenium.
In the tchekoov Stanislavsky considered it important to distance himself in a certain degree from his own earlier work, as his ideas have changed a lot in the meantime. The first objection was that Potapenko the seducer of Lika was easily discernible in the figure of the famous writer, Trigorin. The main condition was that the young heroine should not notice the affair of her mother and Trigorin.
Tous le savent, acteurs, public et presse. All the critics considered it important to mention Masha. Chekhov must have feared that this Medvedienko constantly talking about money can easily slide into a caricature-figure.
What kind of person was Trigorin, then? When his sister arrived home, instead of greeting her, he said her not even mention the play. The innovations could really be noticed in this copy. Furthermore – that has never happened before to the author scrupulously correcting even the fifth edition of his own works – he wrote to Potapenko: The author has disappeared in the meantime. A part of the innovations have become routines since then, they have been used up. It is realism itself. Chekhov wrote in December to Suvorin: Stanislavsky was not proclaiming the ideas of a new theatre creation at the time of “writing” the Seagull, he was not predicting the tchekpv yet, but he made it, wrote it, directed it and also played it.