Synopsis:
At Madame Treplev's estate, her son, Konstantin, presents an outdoor
performance of his new play, in which the single character (actually
just a voice) is played by Nina, a neighbor's daughter, with whom
Konstantin is hopelessly in love. When Madame Treplev, a famous
actress, makes light of the angst-filled play, Konstantin angrily
stops the performance
Later, Nina becomes infatuated with Trigorin, a literary man and
Madame Treplev's current lover. When Madame Treplev and Trigorin
move back to Moscow, Nina follows, hoping to become an actress.
There, she has an affair with Trigorin. Masha, the daughter of the
family steward, is in love with Konstantin (who couldn't care less
for her), but marries Medvedenko, the local schoolmaster.Two years
later, Nina has returned to the country, where Konstantin continues
to live and work on his writing. Konstantin believes that he and
Nina might make a fresh start together, but she rejects him. In
the end, he goes out and shoots himself.
About
the Writer:
THE most important dramatist which Russia
has so far produced is Anton Chekhov (1860-1904), a physician
of Moscow who left, besides many fine short stories, a few
dramas which are strikingly original. Chekhov combined a naturalistic
method with a philosophic mind and a humanitarian gentleness
of temper. At least four of his plays -- The Sea Gull, The
Cherry Orchard, Uncle Vanya, and The Three Sisters -- have
become widely known throughout the world, particularly through
the interpretation of the Moscow Art Theater players. The
Cherry Orchard is perhaps most typical both of the author's
method and of his success in creating "atmosphere."
The surviving members of an ancient land-holding family come
back from Paris to find that their country place is about
to be sold at auction for debts. A family frient and former
peasant, now a prosperous merchant, suggests that they cut
down the cherry orchard and built little cottages which they
can rent out and thus pay off their debt; but family pride
and a general spirit of procrastination will not permit them
to consent to such a solution. In their natures, sorrow over
trouble and levity over responsibilities are inextricably
mixed. They can take nothing seriously. They argue and talk
it all over in their own charming fashion until finally the
house is sold over their heads and the sound of the axe is
heard in the beloved orchard. When they leave, with characteristic
absent-mindedness they accidentally lock the faithful old
servant, Firs, in the empty and abandoned house. That is all:
there is no struggle, nothing that could technically be called
a plot; yet on the stage the representation is full of suspense
and pathos. The author's conception is intense, though detached.
There is no hint of social "problems" or blame for
anybody or any party -- only a tender, acute delineation of
weak, delightful people. Among the naturalists of the theater,
Chekhov and Synge alone have been able to achieve the classic
tragic note. Their scenes rise out of human experiences, wherein
love and tenderness and family relationships have had their
due meed. Especially with Chekhov does one feel the presence
of an understanding heart; nothing escapes his observation,
yet all is rendered with sympathy and pity.
THE most important dramatist which Russia
has so far produced is Anton Chekhov (1860-1904), a physician
of Moscow who left, besides many fine short stories, a few
dramas which are strikingly original. Chekhov combined a naturalistic
method with a philosophic mind and a humanitarian gentleness
of temper. At least four of his plays -- The Sea Gull, The
Cherry Orchard, Uncle Vanya, and The Three Sisters -- have
become widely known throughout the world, particularly through
the interpretation of the Moscow Art Theater players. The
Cherry Orchard is perhaps most typical both of the author's
method and of his success in creating "atmosphere."
The surviving members of an ancient land-holding family come
back from Paris to find that their country place is about
to be sold at auction for debts. A family frient and former
peasant, now a prosperous merchant, suggests that they cut
down the cherry orchard and built little cottages which they
can rent out and thus pay off their debt; but family pride
and a general spirit of procrastination will not permit them
to consent to such a solution. In their natures, sorrow over
trouble and levity over responsibilities are inextricably
mixed. They can take nothing seriously. They argue and talk
it all over in their own charming fashion until finally the
house is sold over their heads and the sound of the axe is
heard in the beloved orchard. When they leave, with characteristic
absent-mindedness they accidentally lock the faithful old
servant, Firs, in the empty and abandoned house. That is all:
there is no struggle, nothing that could technically be called
a plot; yet on the stage the representation is full of suspense
and pathos. The author's conception is intense, though detached.
There is no hint of social "problems" or blame for
anybody or any party -- only a tender, acute delineation of
weak, delightful people. Among the naturalists of the theater,
Chekhov and Synge alone have been able to achieve the classic
tragic note. Their scenes rise out of human experiences, wherein
love and tenderness and family relationships have had their
due meed. Especially with Chekhov does one feel the presence
of an understanding heart; nothing escapes his observation,
yet all is rendered with sympathy and pity. 
