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Jump to navigation. Chekhov worked on 'The Cherry Orchard' for years, ponderously, hesitantly, changing tone, all the while struggling with his health.
He had been suffering from chronic tuberculosis for years and was now in rapid decline, often too tired to go on writing. I am now making a fair copy. Regards, Antonio. I had been expecting the play for two days and was becoming incensed that it had not arrived. Finally, yesterday morning it was brought to me. When I had finished reading it, I ran to the theatre. Fortunately, the rehearsal had been cancelled.
If you had seen the faces of all those people bent over 'The Cherry Orchard'! Naturally, everyone insisted on reading it aloud at once. We locked the door, removed the key, and began. He died a few months later, on 4 July In 'The Cherry Orchard', all the elements of a typical Chekhov play are present: a continuous movement of characters, a tempo and intensity that constantly change; dialogues that randomly appear and are unrelated, abruptly interrupted by seemingly irrelevant interventions or information; important data or feelings that are shared almost without notice; the elegance of the details; the economy of words The truth in this piece is modest, simple, indirect; it is rooted in the familiar rhythms of our lives.
Nothing is inflated, the proportions are familiar, and yet everything is transformed, thanks to an imagination that allows us to penetrate deeply into the strangeness of the everyday.
And yet, however many attempts have been made to understand the play, 'The Cherry Orchard' remains an enigma and Chekhov cannot be pigeonholed. Since the beginning of its performance history, this play has been torn between interpretive polarities: naturalism or poetry, realism or symbolism, social lament or prophecy, comedy or tragedy?
Not infrequently motivated by ideological short-sightedness, the play has already been called everything: a political indictment, a poetic-melancholic image of time, a nostalgic contemplation, an ode to progress, a social satire.
The characters are constantly, depending on what emerges, favouring some ideology or another. Is Lopakhin now a hero who stands for progress and company affiliation? Or is he an upstart peasant with no manners, blinded by profit? Is Lyubov a spoiled and selfish brat who represents the past glory of the old landed gentry and could better perish with her entire clique as swiftly as possible?
Or is she a sensual and irresistible ode to fragile humanity and the essential uselessness of our lives? Does she stand as a symbol for the right to that uselessness, for the right to beauty, to everything that has no economic value, to culture? Is Trofimov an enlightened spirit or a verbose wiseacre who is also idle? Or could it perhaps be that moral judgments are not addressed? Does Chekhov make his own mind known through his characters?
Or does he just let them speak? Or are they just opinions that are expressed in the play? Could it be that the many layers of human activity are simply displayed in all their complexity? That the play does not completely reveal all his secrets, that the characters will not explain to us why they do what they do?
Find out for yourself. An instant of life taken by itself as it is deeply probed becomes a doorway to infinity. The minutiae of life will appear ever more clearly to be the guides to Eternity. In 'The Cherry Orchard', Chekhov draws back the folds of life and what at a distance appeared to be shadowy folds turns out to be an aperture into Eternity. So why create 'The Cherry Orchard' in ?
You might as well ask: What is a carrot? This entire text is indebted to Richard Gilman. And yet, we hear them all clearly. A situation that is recognizable, familiar but not too intimate or embarrassing. The actors all have individual functions within the collectivity bursting open the acting space where the whole stage enters into the performance: the wings, all the backstage area, piles of props in one corner waiting to be used and all the technical equipment, the lighting and so forth.
La Cerisaie. No upcoming events. Show past dates. Th 24 Sep Sun 20 January Sat 19 January Tue 15 January Sun 13 January Sat 12 January Sat 14 April Fri 13 April Thu 12 April Wed 11 April Sun 8 October Sat 7 October Fri 6 October Aix-en-Provence Bois de L'Aune. Tarbes Le Parvis website.
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This reading was at time intriguing but at times disturbing because we seemed to lose something. Even where accents are concerned we often hear guttural Flemish sounds gargle through the French or even the odd German word uncovering a sense of familiarity between these artists and ourselves. One has the impression that the actors are almost improvising, using speech rhythms that have nothing to do with the need to project their voices into the audience. And yet, we hear them all clearly. A situation that is recognizable, familiar but not too intimate or embarrassing.
Translation of "Chekhov La Cerisaie" in English
Jump to navigation. Chekhov worked on 'The Cherry Orchard' for years, ponderously, hesitantly, changing tone, all the while struggling with his health. He had been suffering from chronic tuberculosis for years and was now in rapid decline, often too tired to go on writing. I am now making a fair copy. Regards, Antonio. I had been expecting the play for two days and was becoming incensed that it had not arrived. Finally, yesterday morning it was brought to me.
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