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The Cherry Orchard

The Cherry Orchard by Anton Chekhov
By: (1860-1904)

The Cherry Orchard is Russian playwright Anton Chekhov's last play. It premiered at the Moscow Art Theatre 17 January 1904 in a production directed by Constantin Stanislavski. Chekhov intended this play as a comedy and it does contain some elements of farce; however, Stanislavski insisted on directing the play as a tragedy. Since this initial production, directors have had to contend with the dual nature of this play. The play concerns an aristocratic Russian woman and her family as they return to the family's estate (which includes a large and well-known cherry orchard) just before it is auctioned to pay the mortgage. The story presents themes of cultural futility — both the futility of the aristocracy to maintain its status and the futility of the bourgeoisie to find meaning in its newfound materialism. In reflecting the socio-economic forces at work in Russia at the turn of the 20th century, including the rise of the middle class after the abolition of serfdom in the mid-19th century and the sinking of the aristocracy, the play reflects forces at work around the globe in that period.

First Page:

PLAYS BY ANTON CHEKHOV, SECOND SERIES

By Anton Chekhov

Translated, with an Introduction, by Julius West

CONTENTS

INTRODUCTION ON THE HIGH ROAD THE PROPOSAL THE WEDDING THE BEAR A TRAGEDIAN IN SPITE OF HIMSELF THE ANNIVERSARY THE THREE SISTERS THE CHERRY ORCHARD

INTRODUCTION

The last few years have seen a large and generally unsystematic mass of translations from the Russian flung at the heads and hearts of English readers. The ready acceptance of Chekhov has been one of the few successful features of this irresponsible output. He has been welcomed by British critics with something like affection. Bernard Shaw has several times remarked: "Every time I see a play by Chekhov, I want to chuck all my own stuff into the fire." Others, having no such valuable property to sacrifice on the altar of Chekhov, have not hesitated to place him side by side with Ibsen, and the other established institutions of the new theatre. For these reasons it is pleasant to be able to chronicle the fact that, by way of contrast with the casual treatment normally handed out to Russian authors, the publishers are issuing the complete dramatic works of this author... Continue reading book >>


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