References

1. A Life

1. The date given by Chekhov hirnself, although he would appear to have been born on the 16th. The 17th was his 'name-day,' that is, the day of the saint for whom he was christened. Dates given here are 'Old Style,' in accord with the Julian calendar, twelve days behind the Gregorian.

2. M. P. Chekhov, Vokrug Chekhova (Moscow: Moskovsky rabochy, 1980), p. 44.

3. Ernest Simmons, Chekhov. A Biography (Boston: LittIe, Brown, 1962), p. 6.

4. Peter the Great had established a table of ranks which stratified society status into civil, military, naval and ecclesiastical hierlj.rchies. In the civil hierarchy, meshchanin (townsman) came just above peasant. Treplyov, in The Seagull, complains that his father had been c1assified as a meshchanin of Kiev, even though he was a famous actor, and that the same rank appears on his own passport. He finds it particularly galling since the term had come to suggest petty bourgeois philistinism.

5. Letter to Dmitry Savlyev, Jan. (?) 1884. All quotations from Chekhov's creative writings and letters are based on the texts in A. P. Chekhov, Polnoe sobranie sochineny i pisem (30

151

Anton Chekhov

vols.) (Moscow: Nauka, 1974-1974), henceforth referred to as PSS. Unless otherwise indicated, all translations are my own.

6. Maksim Gorky, Literary Portraits, tr. Ivy Litvinov (Mos­cow: Foreign Languages Publishing House, n.d.), pp. 158-59.

2. At The Play

1. V. F. Tretyakov, Ocherki istori i Taganrogskogo teatra s 1827 do 1927 god (Taganrog: Izd. Khud. Sektsii Taganrogskogo Okrolitrosveta, 1928), pp. 36-38.

2. PSS, lll, 95. 3. PSS, V, 455. 4. PSS, XVI, 65. 5. M. P. Chekhov, Vokrug Chekhova (Moscow: Moskovsky

rabochy, 1964), p. 212. All mention of Yavorskaya is dropped from the most recent edition.

6. PSS, XVI, 60. 7. M. P. Chekhov, Vokrug Chekhova (Moscow: Moskovsky

rabochy, 1980), p. 142. 8. Dmitry Merezhkovsky, 'Neoromantizm v drame,' Vestnik

inostrannoy literatury 11 (1894), p. 101. 9. Anton Krayny (pseud. of Zinaida Gippius), '0 poshlosti,'

Literaturny dnevnik (1899-1907) (St. Petersburg: M. V. Pirozh­kov, 1908), pp. 221-22.

10. Olga Knipper-Chekhova, 'Ob A. P. Chekhove,' Vos­pominaniya i stati (Moscow: Iskusstvo, 1972), 1,57.

11. Quoted by Arseny Gurlyand, 'Vospominaniya ob A. P. Chekhove,' Teatr i iskusstvo 28 (1904).

12. A. 1. Urusov, Stati yego 0 teatre, literature i iskusstve (Moscow; Tip.1. N. Kholchev i ko., 1907), ll, 34.

3. Journeyman EtTorts

1. M. P. Chekhov, 'Ob A. P. Chekhove,' Novoe slovo 1 (1907), p. 198.

2. Pisma A. P. Chekhovu yego brata Aleksandra Chekhova, ed. l. S. Yezhov (Moscow: Gos. sotsialno-ekonomicheskoe izd., 1939), pp. 50-51.

3. Chekhov did not know the German's 'masochistic' works, but did see one of his plays.

152

References

4. A. R. Kugel, Russkie dramaturgi (Moscow: Mir, 1934), p.33.

5. Letter to Chekhov from Pavel Svobodin (25 Oct. 1889), in Chekhov i teatr, ed. E. D. Surkov (Moscow: Iskusstvo, 1961), p.211.

6. M. P. Chekhov, Vokrug Chekhova (Moscow: Moskovsky rabochy, 1980), p. 152.

7. Khrushchyov's nickname 'Leshy' gives too diabolic an impression when trans la ted as 'Wood-Demon'; there is nothing Mephistophelian about the mischievous sprite which the ancient Slavs thought inhabited the forests. Russians use 'Ieshy voz'mi' the way an Englishman might say 'Deuce take it.' 'Wood-goblin' might be more appropriate.

8. A. P. Chudakov,Chekhov's Poetics, tr. F. J. Cruiseand D. Dragt (Ann Arbor: Ardis, 1983), p. 210.

9. Quoted in D. Gorodetsky, 'Mezdu "Medvedem" i "Leshim",' Birzhevye vedomosti 364 (1904).

4. The One-Act Plays

1. Quoted in PSS, XI, 403. 2. Quoted in PSS, XI, 427. 3. A. S. Suvorin, Tatyana Repina, komediya v chetyrakh

deystvyakh (St. Petersburg: A. S. Suvorin, 1889), Act IV, scene 3. 4. Ibid., Act 111, scene 6. 5. Quoted in PSS, XII, 397.

5. The Seagull

1. K. S. Stanislavsky, My Life in Art, tr. J. J. Robbins (Boston: Little, Brown, 1924), p. 355.

2. A. I. Urusov, Stati yego 0 teatre, literature i iskusstve (Moscow: Tip. I. N. KoIchev i ko., 1907), 11, 35-38. First appeared in Kuryer (3 Jan. 1889).

3. A. G. G1adkov, 'Meyerhold govorit,' Novy Mir 8 (1961), p.221.

4. Leonid Andreyev, 'Letters on the Theatre,' in Russian Dramatic Theory from Pushkin to the Symbolists, ed. and tr. L. Senelick (Austin: University ofTexas Press, 1981), pp. 238-242.

153

AnIon Chekhov

5. A. N. Ostrovsky, Artistes and Admirers, tr. E. Hanson (Manchester: Manchester University Press, 1970), p. 64.

6. A. P. Chudakov, Chekhov's Poetics, tr. F. J. Cruise and D. Dragt (Ann Arbor: Ardis, 1983), p. 193.

7. D. S. Mirsky, Contemporary Russian Literature 1881-1925 (London: George Routledge and sons, 1926), p. 88.

8. Nina's last name 'Zarechnaya' literally means 'on the other side of the river,' both suggestive of her alien status on the estate and reminiscent ofzamorskaya, 'on the other side of the water,' a term frequently synonymous in Russian folklore with 'wondrous strange.'

9. W. B. Yeats, The Collected Poems (London and New York: Macmillan, 1964).

6. Uncle Vanya

1. 27 January 1899, quoted in S. S. Koteliansky, 'A note on "The Wood Demon" ,in The Wood Demon (New York: Macmil­Ian, 1926), p. 14.

2. M. Gorky and A. Chekhov, Stad, vyskazyvaniya, perepiska (Moscow: Goslitizdat, 1951), pp. 63-65.

3. Osip Mandelshtam, '0 pyese A. Chekhova "Dyadya Vanya,'" [1936] Sobranie sochineny 4 (Paris: YMCA Press), pp. 107-109.

4. Samuel Beckett, Proust (London: Chatto and Windus, 1931), p. 8.

5. Also the sub-title of Turgenev's A Month in the Country. 6. Chekhov may have had in mi nd the Russian fairy-tale of

'Yelena the Fair,' a Cinderella story in which the snivelling booby Vanya woos and wins the beautiful princess with the aid of his dead father. An English version can be found in Russian Fairy Tales by W. R. B. Ralston (London, 1887).

7. Robert Mazzocco, 'In Chekhov's speil,' New York Review of Books (22 Jan. 1976), p. 35.

8. Vsevolod Meyerhold, 'Teatre (k istorii tekhnike),' in Teatr: kniga 0 novom teatre (St. Petersburg: Shipovnik, 1908), pp. 143-45. A partial English translation of this essay appears in Meyerhold on Theatre, ed. and tr. Edward Braun (London: Methuen, 1969), pp. 25-39.

154

R eferen ces

7. Three Sisters

1. Vladimir Ladyzhensky, 'Dalyokie gody,' Rossiya i slavyan­stvo (13 July 1929), p. 5.

2. Olga Knipper-Chekhova, 'Ob A. P. Chekhove,' Vos­pominaniya i stati (Moscow: Iskusstvo, 1972), I, 56.

3. Maksim Gorky, Sobranie soehineniya (Moscow: Akademiya Nauk SSR, 1958), XXVIII, 159.

4. Leonid Andreyev, 'Tri sestry,' Polnoe sobranie soehineny (St. Petersburg: A. F. Marks, 1913), VI, 321-25.

5. Randall Jarrell, 'About The Three Sisters: Notes,' in The Three Sisters (London: Macmillan, 1969), pp. 105-106. There had been an impressionist show in Moscow in 1896, and Tolstoy had characterised Chekhov's technique as a story-wtiter as impressionism. As early as 1912 George Calderon was comparing The Cherry Orehard to a French 'vibrationist' picture.

6. Jovan Hristic, Le thlMtre de Tehekhov, tr. H. and F. Wybrands (Lausanne: L' Age d'homme, 1982), p. 166.

8. The Cherry Orchard

1. Varya is another variant of the driven housekeeper-type Chekhov had described in his plans for a collaborative play with Suvorin. Earlier avatars include Yuliya in The Wood Demon, Sonya in Uncle Vanya and Natasha in Three Sisters.

2. A. R. Kugel, Russkie dramaturgi (Moscow: Mir, 1934), p.120.

3. Jean-Louis BarrauIt, 'Pourquoi La CerisaieT, Cahiers de la Compagnie Barrault-Renaud 6 (July 1954), pp. 87-97.

4. Henri Bergson, Laughter, an Essay on the Meaning ofthe Comie, tr. C. Brereton and F. Rothwell (New York, Macmillan, 1911), pp. 88-89.

5. M. Nevedomsky, 'Simvolizm v posledney drame A. P. Chekhova,'Mirbozhy 8,2 (1904), pp. 18-19.

6. Kugel, op. eil., p. 125. 7. Ivan Bunin, 0 Chekhove (New York: Chekhov Publishing

House, 1955), p. 216. 8. Andrey Bely, 'The Cherry Orchard,' in Russian Dramatie

Theory {rom Pushkin to the Symbolists, ed. and tr. L. Sene\ick (Austin: University of Texas Press, 1981), p. 92.

155

Anton Chekhov

9. Ibid. 10. Vsevolod Meyerhold, Perepiska (Moscow: lskusstvo,

1976), p. 45; and 'Teatr (k istorii tekhnike),' in Teatr: kniga 0

novom teatre (St. Petersburg: Shivpovnik, 1908), pp. 143-45. 11. Eva Le Gallienne, At 33 (New York: Longmans, Green,

1934), p. 224.

9. The Theatrical Filter

1. Yu. M. Yuryev, Zapiski (Leningrad-Moscow: lskusstvo, 1963), II, 135.

2. Aleksandr Blok, 'On Drama,' in Russian Dramatic Theory from Pushkin to the Symbolists, ed. and tr. L. Senelick (Austin: University of Texas Press, 1981), p. 111.

3. Vladimir Mayakovsky, Pyesy (Moscow: Detskaya literat­ura, 1971), p. 104.

4. Boris Zakhava, Sovremenniki (Moscow: lskusstvo, 1969), p.269-73.

5. VI. I. Nemirovich-Danchenko vedet repetitsiyu 'Tri sestry' A. P. Chekhova v postanovke MKhAT 1940 goda (Moscow: lskusstvo, 1963), pp. 149, 159, 189.

6. Michel St. Denis, Theatre, the Rediscovery o[ Style (New York: Theatre Arts Books, 1960), p. 53.

7. Quoted in Newsnotes on Soviet & East European Drama & Theatre III, 3 (Nov. 1983), pp. 2-3.

8. Jan McDonald, 'Production of Chekhov's plays in Britain before 1914,' Theatre Notebook 34, 1 (1980), pp. 25-36.

9. Quoted in ibid. 10. John Gielgud, Stage Directions (New York: Capricorn

Books, 1966),p.87. 11.lbid.,p.95. 12. The New English Weekly (18 June 1936), pp. 194-95. 13. Quoted in Theatre Magazine (New York, April 1938),

p.44. 14. New Republic (28 Dec. 1942), p. 858. 15. Private letter of Arthur Miller to the author, 6 May 1981. 16. Gordon Rogoff, 'Fire and lee: Lee Strasberg,' Tulane

Drama Review (Winter 1964), pp. 152-153. 17. 'Serban defends his "Cherry Orchard," 'New York Times

156

References

(13 Mar. 1977). See also Laurence Shyer, 'Andrei Serban directs Chekhov,' Theater (New Haven) (Fall/Winter 1981), pp. 56-65.

18. Peter Brook, The Empty Space (New York: Avon Books, 1969), p. 72.

19. Mel Gussow, 'Peter Brook returns to Chekhov's vision,' New York Times (19 Aug. 1981).

20. George Calderon, Two Plays of Tchekhof (London: Mitchell Kennerly, 1912), p.8. For a fuller stage history of Chekhov's plays, see my essay 'Chekhov on Stage,' in The Chekhov Handbook, ed. Toby Clyman (Hamden, Conn.: Green­wood Press, 1985).

157

Bibliography

I. Works in Russian

Balukhaty, S. D., Problema dramaticheskogo analiza: Chekhov. (Leningrad: Academia, 1927. Reprint: Muenchen: Wilhelm Fink Verlag, 1969).

----, and N. V. Petrov, Dramaturgiya Chekhova. (Khar­kov: Izd. Kharkovskogo teatra russkoy dramy, 1935).

Berdnikov, G. P.,A. P. Chekhov: ideynye i tvorcheskie iskaniya. (Moscow: Khudozhestvennaya Iiteratura, 1970).

----, Chekhov-dramaturg: tradilSii i novatorslVo v dramaturgii A. P. Chekhova. (3rd ed. revised and enlarged. Moscow: Iskusstvo, 1972).

Brojde, Edgard, Chekhov-myslitel, khudozhnik (1 OO-letie lVor­cheskogo puti) .. Katastrofa-vozrozh denie. (Frankfurt am Main: The author, 1980).

Bunin, I. A., 0 Chekhove. (New York: Chekhov Publishing House, 1955).

Chekhov, M. P., Anton Chekhov i yego syuzhety (Moscow: 9-e Ianvarya, 1923).

----, Anton Chekhov, teatr, aklery i 'Tatyana Repina'. (Petrograd: Izd. avtora, 1924).

158

Anton Chekhov ----, Vokrug Chekhova. Vstrechi i vpechatleniya. (Mos­

cow: Moskovsky rabochy, 1980). Efros, Nikolay, • Tri sestri' i 'Vishnevy sad' v postanovke Moskovs­

kom Khudozhestvennom teatra. (Petrograd: Svetozar, 1919). Gitovich, N. 1., Letopis zhizni i tvorchestva A. P. Chekhova.

(Moscow: Gos. Izd. Khudozhestvennoy literatury, 1955). Gofman, Viktor, 'Yazyk i stil Chekhova-dramaturga,' in Yazyk

Iiteratury. (Leningrad: Khudozhestvennaya Iiteratura, 1936). Grigoryev, M., Stsenicheskaya kompositsiya chekhovskikh pyes.

(Moscow: Izd. KUBS'a i V.L.Kh.l., 1924). Lenin Library, Moscow, Chekhovskie chteniya v Yalte. Chekhov i

teatr. (Moscow: Kniga, 1976). Paperny, Z. S., 'Chayka' A. P. Chekhova. (Moscow: Khudozhest­

vennaya literatura, 1980). ----, Zapisnye knizhki Chekhova. (Moscow: Sovetsky

pisatel, 1976). ----, Vopreki vsem pravilam: pyesy i vodevili Chekhova.

(Moscow: Iskusstvo, 1982). Pokrovsky, V. 1., ed. Anton Pavlovich Chekhov. Yego zhizn i

sochineniya. (Moscow: Sklad v knizhnom magazina V. Spiridonova i A. Mikhailova, 1907).

Rudnitsky, K., 'Chekhov i rezhissery,' in Voprosy teatra 1 (Moscow 1965).

Shakh-Azizova, T. K., Chekhov i zapadno-yevropeyskaya drama yego vremeni. (Moscow: Nauka, 1966).

Skaftymov, A., '0 yedinstve formy i soderzhaniya v Vishnevom sade' and 'K voprosu ° printsipakh postroeniya pyes A. P. Chekhova,' in Nrastvennye iskaniya russkikh pisateley (Mos­cow: Khudozhestvennaya literatura, 1972).

Sobolev, Yury, Chekhov dramaturg (Moscow: Federatsiya, 1930).

Stanislavsky, K. S., A. P. Chekhov v Moskovskom Khudozhest­vennom teatre, ed. V. L. Vilenkin (Moscow: Izd. Muzeya MKhATa, 1947).

----, 'Chayka' rezhisserskaya partitura. (Leningrad-Mos­cow: Iskusstvo, 1938). Reprint: Rezhisserskie ekzemplyary K. S. Stanislavskogo, vol. 2. (Moscow: Iskusstvo, 1981).

----, Moya zhizn v iskusstve, in Sobranie sochineniya, vol. 1 (Moscow: Iskusstvo, 1954).

Stroyeva, M. Chekhov i Khudozhestvenny teatr. (Moscow: Iskusstvo, 1955).

159

Bibliography

----, VI. I. Nemirovich-Danchenko vedet repetitsiyu. 'Tri sestry' A. P. Chekhova v postanovka MKhAT, I 940g. (Mos­oow: Iskusstvo, 1965).

Surkov, E. D., ed. Chekhov i teatr: pisma, feletony, sovremenniki 0

Chekhove-dramaturge (Moscow: Iskusstvo, 1961). Yermilov, V., 'Chayka' materialy i issledovaniya. (Moscow:

Iskusstvo, 1946). ----, Dramaturgiya Chekhova. (Moscow: Sovetsky

pisatel, 1948; enlarged ed., 1954). Zingerman, B., 'Vodevili A. P. Chekhova,' Voprosy Teatra '72.

(Moscow: Vserossiyskoe teatralnoe obshchestvo, 1973).

11. Works in Other Languages

Balukhaty, S., ed., The Seagull produced by Stanislavsky. Tr. D. Magarshack (London: Dennis Dobson, 1952).

Barricelli, Jean-Pierre, ed., Chekhov's great plays. A critical anthology (New York and London: New York University Press, 1981).

Bentley, Eric, 'Chekhov as a playwright,' Kenyon Review 2, 2 (Spring 1949): 227-50.

----, 'Craftsmanship in Uncle Vanya,' in In Search of Theatre (New York: Vintage books, 1959).

Brahms, Caryl, Reflections in a Lake. A study of Chekhov's four greatest plays (London: Weidenfeld and Nicolson, 1976).

Bruford, W. H., Chekhov and his Russia: a sociological study. (London: Kegan Paul, Trench, Trubner, 1947).

'Chekhov Centenary Issue,' World Theatre 9, 2 (1960). Chudakov, A. P., Chekhov's Poetics. Tr. F. J. Cruise and D.

Dragt. (Ann Arbor: Ardis, 1983). Oyman, Toby W., ed.A Chekhov Companion (Westport, Conn.:

Greenwood Press, 1985). Eekman, Thomas, ed. Anton Chekhov, 1860-1960. Some essays

(Leyden: E. J. Brill, 1960). ---- and Paul Debreczeny, eds., Chekhov's art ofwriting.

A collection of critical essays (Columbus, 0.: Slavic Publishers, 1977).

EmeIjanow, Victor, ed., Chekhov. The Critical Heritage (London: Routledge & Kegan Paul, 1981).

160

AnIon Chekhov Gottlieb, Vera, Chekhov and the vaudeville. A study ofChekhov's

one-act plays (Cambridge: Cambridge University Press, 1982). Hingley, Ronald, Chekhov. A biographical and critical study.

Revised ed. (London: George Allen and Unwin, 1966). ----, A new life of Chekhov (London: Oxford University

Press, 1976). Hristic, Jovan, Le theiitre de Tchekhov. Tr. Harita and Francis

Wybrands (Lausanne: L'Age d'homme, 1982). Jackson, Robert Louis, ed., Chekhov. A collection of critical

essays (Englewood Cliffs, N.J.: Prentice-Hall, 1967). Koteliansky, S. S., Anton Tchekhov: Literary and theatrical

reminiscences (London: George RoutIedge and Sons, 1927). Magarshack, David, Chekhov the dramatist (London: John

Lehmann, 1952, reprint: London: Eyre Methuen, 1980). ----, The real Chekhov. An introduction to Chekhov's last

plays (London: George Allen and Unwin, 1972). Moravcevich, Nicholas, 'Chekhov and naturalism: from affinity to

divergence,' Comparative Drama 4 (Winter, 1970-71): 219--40.

----, 'The obligatory scenes in Chekhov's dramas,' Drama Critique (Chicago) 9, 2 (Spring 1966): 97-104.

Nemirovich-Danchenko, Vladimir, My Life in the Russian Theatre. Tr. J. Cournos (London: Geoffrey Bles, 1937).

Peace, Richard, Chekhov. A study of the four major plays (New Haven and London: Yale University Press, 1983).

Pitcher, Harvey, The Chekhov Play. A New Interpretation (Lon­don: Chatto & Windus, 1973).

----, Chekhov's Leading Lady. A Portrait of the Actress Olga Knipper (London: John Murray, 1979).

Raicu, John, 'Chekhov's use of church ritual in Tatyana Repina,' in Themes in Drama 5, ed. J. Redmond. (New York and London: Cambridge University Press, 1983).

Rayfield, Donald, Chekhov. The Evolution of his art (London: Elek, 1975).

Schmid, Herta, Strukturalische Dramentheorie: semantische Analyse von Cechovs 'Ivanov' und 'Der Kirschgarten: (Kron­berg: Scriptor Verlag, 1973).

Senelick, Laurence, 'Chekhov's response to Bernhardt,' in Bern­hardt and the Theatre of Her Time, ed. E. Salmon (Westport, Conn.: Greenwood Press, 1984).

161

Bibliography

----, 'The lake-shore of Bohemia: The Seagull's theatrical context,' Educational Theatre Journal (May 1977): 199-213.

----, ed. and tr. Russian dramatic theory [rom Pushkin to theSymbolists (Austin, Tex.: University ofTexas Press, 1981).

Shevtsova, Maria, 'Chekhov in France, 197fr9: Productions by Strehler, Miquel and Pintilie,' in Transformations in Modern European Drama, ed. Ian Donaldson (Atlantic Highlands, N.J.: Humanities Press, 1983).

Silverstein, N. 'Chekhov's comic spirit and The Cherry Orchard,' Modern Drama 1,2 (Sept. 1958): 91-100.

Simmons, Ernest, Chekhov. A biography (Boston: Little Brown, 1962).

Stanislavsky, K. S.,My Lifein Art, tr. J. J. Robbins (Boston: Little Brown, 1923).

Stroud, T., 'Hamiet and The Seagull,' Shakespeare Quarterly 9, 3 (Summer, 1958): 367-72.

Styan, J. L., Chekhov in Performance (London: Cambridge University Press, 1972).

Valency, Maurice, The Breaking string: the plays of Anton Chekhov (New York: Oxford University Press, 1966).

Welleck, Rene and Nonna, D., eds., Chekhov. New perspectives (Englewood Cliffs, N.J.: Prentice-Hall, 1984).

162

Editions and Translations ofChekhov

The authoritative edition of Chekhov's works in Russian is Polnoe sobranie sochineny i pisem (30 vols.), produced under the auspices of the Academy of Sciences of the USSR (Moscow, 1974-84). The plays with their variants, revisions and extensive notes are located in Volumes 11 to 13. In English, all. of Chekhov's plays can readily be found in The Oxford Chekhov, translated and edited by Ronald Hingley, Vois. One to Three (London, 1964-83). This edition is especially useful for its translations of the variants and eariy drafts. Hingley, however, tries so hard to be idiomatically British, that he neglects Chekhov's careful repetitions of keywords and phrases.

Chekhov's plays have been regularly retranslated and adapted since the First World War. So me of the earliest English versions are the best: George Calderon's Two Plays by Tchekhof(London, 1912), not least for its excellent introduction, and Constance Garnett's Nine Plays (London, 1923), which, though old­fashioned, gives a sense of period gentility. Annotated editions of major works include Chekhov's Plays, ed. and trans. E. K. Bristow (New York, 1977); The Cherry Orchard and TheSeagull, trans: Laurence Seneliek (Arlington Heights, III., 1977) and The

163

Editions and Translations o[ Chekhov

Three Sisters, adapted by Randall Jarrell (New York, 1969). Other standard translations include those of Stark Young (New York, 1956), Ann Dunnigan (New York, 1964), and David Magarshack (London, 1968). (Magarshack has also translated an unabridged Platonov, London, 1964.)

Intelligent new versions include Michael Frayne's The Cherry Orchard (London, 1978) and Three Sisters (London, 1983), and TheSeagull adapted by Thomas Kilroy (London, 1981) which sets it in turn-of-the-century Ireland. Less to be recommended are the versions of Elizaveta Fen, which cut lines and phrases without comment, and of Jean-Claude Van Itallie, which compound this fault by making all Chekhov's characters sound alike.

Useful editions of Chekhov's letters and notes include The Notebooks 0/ Anton Tchekhov, together with Reminiscences 0/ Tchekhov by Maxim Gorky, tr. S. S. Koteliansky and Leonard Woolf (Richmond, 1921); Leiters on the short story, the drama and other literary topics, ed. Louis S. Friedland (London, 1924; repr. New York, 1966); Leiters 0/ Anton Chekhov, ed. Simon Karlinsky, tr. Michael Heim (London and New York, 1973); and The Leiters 0/ Anton Chekhov, ed. Avrahm Yarmolinsky (New York,1973).

164

Index

Abramova, Madam 42 Abramova's Theatre,

Moscow 11,42 Abyss, The (Markevich) 22 Ackland, Rodney 143 Actor's Studio, New

York 147 Aleksandr III of Russia 100 Alekseyev, K. S., see

Stanislavsky, Konstantin Alexandra Theatre, St.

Petersburg 9, 12,36,66, 71,136

American Repertory Theatre, Cambridge, Mass. 148

Anderson, Judith 146 Anderson, Lindsay 144 Anderson, Robert 147 Andreyev, Leonid 74,

104-5, 113, 125 Antropov, Luka 39 APA, New York 146

Apollonsky, Roman 71 Arro, Vladimir 141 Art and Literary Society,

Moscow 64 Artyom, A. P. 117 Ashcroft, Peggy 143 At the Bottom (Gorky) 99 A veugles, Les

(Maeterlinck) 25

Ballo in Maschera, Un (Verdi) 130

Barnes Theatre, London 143

Barrault, Jean-Louis 124, 147

Beaumarchais, Pierre Caron de 123

Beckett, Samuel 97, 128 Becque, Henry 20 Belle Helene, La

(Offenbach) 17, 56

165

Index

Bely, Andrey 117,126-7, 129

Bergson, Henri 96, 125 Beyond Human Power

(Bj~rnson) 25, 79 Bibikov, M. I. 63 Bilibin, V. V. 11 Bj~rnson, Bj~rnstjerne 25,

79 Blake, William 116 Blok, Aleksandr 137 Bolshoy Dramatic Theatre,

Leningrad 139 Bosch, Hieronymus 63 Bouffes du Nord, Paris 149 Brecht, Bertolt 110 Brook, Peter 148-9 Buckle, Thomas Henry 4 Bunin,Ivan 126

Calderon, George 142, 149 Cambridge Theatre 144 Ce Fou Platonov, see

Chekhov, Anton, Without Patrimony

Chaikin, Joseph 148 Chains (Yuzhin-Sumbatov)

99,100--1 Chaliapin, Fyodor 15 Chayefsky, Paddy 147 Chekh, Yegor

(grandfather) Chekhonte, Antosha, see

Chekhov, Anton Pavlovich Chekhov, Aleksandr

(brother) 4, 5, 6, 9, 29, 34,37

Chekhov, Anton Pavlovich: PLA YS: The Bear 11,51, 56-8, 138; The Cherry Orchard 2,4, 13, 14, 15,

166

23,26,45,54,59,95,96, 97,100,117-34,137,138, 140,142,143,145,146, 148, 149; The Cleanshaven Secretary and the Pistol 3; Hamlet Prince 0/ Denmark 7; The Hen Has Good Reason tor Clucking 3; Ivanov 9, 11,13,20,23,34-41,45, 47,52,60,61; The Jubilee 11,51,52,53, 65-7,137-8, 145;A Mess in Rome 19; The Night be/ore the Trial 11,67-8; On the Harmfulness 0/ Tobacco 7, 54-5; On the Highway 7,53-4; Platonov, see Without Patrimony; The Power 0/ Hypnotism 7; The Proposal 11,52,58-9, 138; TheSea Gull 11-12, 13,17,20,22,23,24,25, 26,28,39,45,51,52, 61-2,66,70--87,89,93, 97,98,122,131,136,139, 140,142,146,147,148; Swan Song (Calchas) 55-6, 98; Tatyana Repina 52,59-62,69; Three Sisters 2, 12, 13,26,65, 66,91,96,102-16,117, 118,122,124,127,131, 136, 138-40, 140--1, 143, 144,145, 146, 147, 148;A Tragedian in spite 0/ Himsel/ 62-3; Uncle Vanya 10,12,13,15,26, 47,61,66,88-101,116, 118,124,144,145,146,

Index

Chekhov, Anton Pavlovich - continued

148; Unclean Tragedians and Leprous Playwrights 19; The Wedding 51,52, 53,63-5,66-7,68,108, 137-8; Without Patrimony 3,5,19,28-34,35,47, 104, 118, 146; The Wood Demon 11, 12,41-9,52, 66, 89, 91. STORIES: The Archbishop 44; Autumn 53; The Black Monk 10; ABoring Story 10; 16,42; Calchas 55; The Darling 14;A De[enceless Creature 66; The Duel 10; Fairy Tales o[ Melpomene 6; The Futile Victory 31; The House with the Maisonette 10; A Hunting Drama 32; In the Gloaming 8; The Jubilee 18; Lady with Lapdog 14; My Li[e 10; The Night be[ore the Trial 67; On Drama 17-18; One o[ Many 62; Peasants 10; The Steppe 7-8, 9, 34; The Teacher o[ Literature 10; Thieves 137; Ward No. 6 10

Chekhov, Ivan (brother) 5, 6

Chekhov, Michael (nephew) 138

Chekhov, Mikhail (brother) 3, 5, 29, 35, 42

Chekhov, Mitrofan (uncle) 16

Chekhov, Nikolay (brother) 5, 10, 18

Chekhov, Pavel Yegorovich (father) 1-5

Chekhova, Mariya (sister) 5 Chekhova, Yevgeniya

(mother) 1-3 Chernyshevsky, Nikolay 100 Chichester Festival 144 Chudakov, A. P. 47,77 Civic Repertory Theater, New

York 145 Cold Words (Minsky) 24 Compagnie des Quinze 143 Cornell, Katherine 146 Country Scandal, A ,see

Chekhov, Anton, Without Patrimony

Coward, Noel 146

Dame aux camellias, La (Dumas fils) 21-2

Dargomyzhsky, Aleksa'ndr 17

Daumier, Honore 65 Davydov, Vladimir 38,55,

71,136 Dead Souls (Gogoi) 106,

123 Dennery,

Adolphe-Philippe 17 DolI's House, A (Ibsen) 20,

142 Don Quixote (Cervantes) 4 Dostoevsky, Fyodor 92 Dramatic Sequels

(Hankin) 60 Dreyfus affair 7 Dumas, Alexandre,pere 56

167

Index

Dumas, Alexandre,jils 23, 130

Dyachenko, Viktor 17, 32, 36

East Lynne (Wood) 77 Eckermann, lohann 70 Efros, Anatoly 140 Eliot, T. S. 56 Empty Space, The

(Brook) 148 Enemy of the People, An

(Ibsen) 20 Evans, Edith 143

Fantasy Theatre, Moscow 18, 79

Fathers and Sons (Turgenev) 45

Feast in Plaguetime, A (Pushkin) 130

Fireworks on the farnes 46 Fontanne, Lynn 146 Forest Tramp, The

(Anicet-Bourgeois) 19 Frayne, Michael 30 Fry, Christopher 57 Fumes of Life, The

(Markevich) 22-3

Gaboriau, Emile 32 Georgievskaya, A. 139 German Club, St.

Petersburg 63 Geuing Married (GogoI) 16 Ghosts (Ibsen) 114 Gielgud, lohn 143 Gish, Lillian 146 Glasgow Repertory

Theatre 142 Glebova, Mariya 42

Goethe, lohann Wolfgang von 70

Gogol, Nikolay 3, 16, 19, 51,63,68,106,123

Gold (Nemirovich­Danchenko) 99

Golovyov Family, The (Saltykov-Shchedrin) 75

Golub, Spencer 141 Gordon, Ruth 146 Gorky, Maksim 15,25,90,

99,104 Gradov-Sokolov, L. I. 54 Griboyedov, Aleksandr 31,

56, 130 Griffiths, Trevor 145 Grigorovich, D. V. 7,42 Group Theatre, New

York 147 Guthrie, Tyrone 143 Gwenn, Edmund 146

Harnlet (Shakespeare) 4, 19, 56

Hankin, St. lohn 60 Harris, led 146 Heartbreak House

(Shaw) 142 Hedda Gabler (Ibsen) 107 Hellman, Lillian 147 Hermitage Pleasure

Garden 18 History of Civilisation in

England (Buckle) 4 Homer 98 Hristic, lovan 107 Hunt Club, Moscow 65, 66 Hunter, N. C. 143

Ibsen, Henrik 3, 20, 24, 36, 38,85, 101, 114

168

Index

Ideals of Gur Times (Sacher-Masoch) 32

I1inskaya, Mariya 58 Inge, William 147 Inspector General, The

(GogoI) 3,16,19,51 Ionesco, Eugtme 63 lunovich, S. 140

Jarrell, Randall 105 Jarry, Alfred 63,115 Johnson, Samuel 112 J6kai, M6r 31

Kadmina, Yevlaliya 59 Kaiser-von-Nilckheim,

E. I. 54 Kamerny Theatre,

Moscow 139 Karamzin, Nikolay 75 Kean (Dumaspere) 17,56 Keller, General 16 Kilroy, Thomas 145 King Lear (Shakespeare) 56 Kiselev family 6 Kiseleva, M. V. 55 Knipper,Olga 13, 14,24,

72, 90, 104, 118-20 Komisarjevsky,

Theodore 142-3 Kommissarzhevskaya,

Vera 71,72 Koonen, Alisa 139 Korsh, Fyodor 9, 11, 18-20,

34 Korsh's Theatre,

Moscow 19-20,35,42, 55,57

Kotzebue, August von 16 Krasnoe Selo Theatre 58 Krejca,Otomar 147

Krylov,lvan 109 Krylov, Viktor 23 Kugel, A. R. 39, 122

La Mama, New York 148 Lady Audley's Secret

(Braddon) 17 Lanin Estate, The

(Zaytsev) 137 Laughton, Charles 143 Lazarev, A. S. 143 Le Gallienne, Eva 131,145 Lecocq, Alexandre 17 Lenin Komsomol Theatre,

Moscow 140 Lensky, Dmitry 16 Lentovsky, Mikhail 18-19,

20,22,79 Leonidov, Leonid 120 Lermontov, Mikhail 31,65,

130 Levitan, Isaak 6 Levkeyeva, E. I. 66, 71 Leykin, Nikolay 5,21,26 Lilina, Mariya . 139 Liquidation (Solovyov) 122 Logan,Joshua 146 Look Who's Come

(Arro) 141 Love of Four Colonels, The

(Ustinov) 144 Lower Depths, The,see At the

Bottom Luncheon with the Marshai of

Nobility (Turgenev) 51,59 Lunt, Alfred 146 Lyons Mail, The (Reade) 17 Lyubimov, Yury 140

Madame Sans-Gene (Sardou) 22

169

Index

Maeterlinck, Maurice 24-5, 84, 125-6, 128

Mai! Robbery, The 17 Malakhov Theatre,

Moscow 54 Malaya Bronnaya Theatre,

Moscow 140 Maly Theatre, Moscow 29,

89-90,118 Man and Superman

(Shaw) 100 Mandelshtam, Osip 90 Mansfield, Katherine 8 Markevieh, Boleslav 22-3 Marks, A. F. 12 Marriage 01 Figaro, The

(Beaumarchais) 123 Martin Beck Theater, New

York 146 Masquerade

(Lermontov) 130 Mayakovsky, Vladimir 137 McClintic, Guthrie 146 Merezhkovsky, Dmitry 24 Meyerhold, Vsevolod 72,

74, 101, 104, 129, 138 Military Magician, The

(Kotlyarevsky) 3 MiHer, Arthur 147 Miller, Jonathan 144-5 Minsky, Nikolay 24 Mirsky, Prince Dmitry 78 Moliere 41,58,63 Month in the Country, A

(Turgenev) 75 Moscow Art Theatre 12-13,

26-7,72-4,89-90,94, 102-5,119-20,135-40, 141, 144, 145

Moscow Art Theatre Third Studio 137

Moscow News 66 Mystery-Boulle

(Mayakovsky) 137

Nabokov, Vladimir 124 Naydyonov, Sergey 99 Nazimova, AHa 145-6 Nemirovich-Danchenko,

Vladimir 8, 12, 72-4, 89, 99,119-20,135,138

Nevedomsky 126 Nevezhin, Pyotr 122 New Theatre, London 144 New Times 7,26 Nietzsehe, Friedrich 88 Northern Herald 8 Nottingham Repertory 145 Novalis (F. von Hardenberg)

129

Odets, Clifford 147 Oedipus the King

(Sophocles) 116 Offenbach, Jacques 17,19,

56,98 Old Vic, London 143 Olivier, Laurence 144 One Thousand Souls

(Pisemsky) 75 Orlov, Ivan 28 Ostrovsky, Aleksandr 17,

18,19,59,75,76,122 Othello (Shakespeare) 56,

63

Pavlova, Tatiana 138 Perichole,la (Offenbach) 17 Petronius 57 Phoenix Too Frequent, A

(Fry) 57 Pintilie, Lucian 148

170

Index

Pisemsky, Aleksey 75 Pitoeff, Georges 147 Pixerecourt, Guilbert de 16 Pleshcheyev, Aleksey 8,43,

44,133 Polevoy, Nikolay 16 Polonsky, Yakov 32 Poor Liza (Karamzin) 75 Potekhin, Aleksey 17, 75 Power 01 Darkness, The (L.

Tolstoy) 19, 20 Price 01 Lile, The (Nemirovich­

Danchenko) 99 Provincial Don Juan, A, see

Chekhov, Anton: Without Patrimony

Publick Theatre, New York 148

Pushkin, Aleksandr 86, 130, 133

Queen's Theatre, London 143

Racine, Jean 97 Redgrave, Michael 143, 144 Reid, Thomas Mayne 4 Richardson, Ralph 144 Rise and Fall 01 the City 01

Mahagonny (Weill) 110 Roksanova, M. L. 73 Roshchin-Insarov,

Nikolay 42 Rosmersholm (Ibsen) 36 Rostand, Edmond 20 Rostovtsev, I. A. 135 Royal Court Theatre,

London 145 Rusalka, The

(Dargomyzhsky) 17 'Rusalka, The' (Pushkin) 86

Ruslan and Lyudmila (Pushkin) 103

Ruzzante (Angelo Beolco) 68

Rybchinskaya, Nataliya 57

Sacher-Masoch, Leopold 32 Sadovskaya, Olga 118 Saint-Denis, Michel 139,

143 Saltykov-Shchedrin,

Mikhail 75 Sardou, Victorien 17 Schopenhauer, Arthur 92 Scribe, Eugene 130 Second Youth

(Nevezhin) 122 Serban, Andrei 148 Sergeyenko, P. A. 50 Seyler, Athene 143 Shaw, George Bernard 100,

142 Shaw,Irwin 147 Shcheglov-Leontiev,

Ivan 21,22,56 Shpazhinsky, Ippolit 17,32 Skomorokh Theatre,

Moscow 19 'Sinful Woman, The' (A.

Tolstoy) 129 Smirnitsky, V. 140 Solovtsov, Nikolay 4, 42, 57 Solovyov, Nikolay 122 Solovyov, Vladimir 24 Sophocles 116 Spencer, Herbert 5 Splinters 5 Stage Society, London 142 Stanislavsky, Konstantin

(Alekseyev) 12-13,20, 24,72-4,90,104,117

171

Index

Stanislavsky, Konstantin -continued

119-20, 135-6, 137, 147, 148, 149

Strasberg, Lee 147 Strehler, Giorgio 147 Strindberg, August 44, 101,

114 Sudermann, Hermann 20 Sumbatov-Yuzhin, Prince

A. I. 21,99, 100-1 Suvorin, Aleksey 1,7,8,9,

12,21,24,26,35,38, 41-2,43,50,51,59-62, 78,79,80,99

SvetIov, Nikolay 35 Svoboda, Josef 147 Svobodin, Pavel 58

Taganka Theatre, Moscow 140-1

Taganrog Civic Theatre 3, 16-17

Tairov, Aleksandr 139 Talents and Admirers

(Ostrovsky) 76 Tatyana Repina

(Suvorin) 59-62, 99 Tchaikovsky,Pyotr 6,115,129 Therese Raquin (Zola) 25 Thirty- Three Swoons

(Meyerhold) 138 Tolstoy, Aleksey 13, 129 Tolstoy, Lyov 8, 19, 43, 56,

64, 77 Tovstonogov, Georgy 139 Traviata, La (Verdi) 130 Trip to the Moon, A

(Offenbach) 19 Tsar Fyodor loannovich (A.

Tolstoy) 13

Turgenev,Ivan 8,31,51, 59,75,77,84,136

Uncle Tom's Cabin (H. B. Stowe) 4

Urusov, Prince A. I. 49, 73, 89

Ustinov, Peter 144

'Vacillation' (Yeats) 86-7 Vakhtangov, Yevgeny

137-8 Vanyushin's Children

(Naydyonov) 99 Varlamov, Konstantin 58,

62-3,66,71 Vasilisa M elentieva

(OstTOvsky) 59 Verdi, Giuseppe 130 Verne, Jules 19 Vilar, Jean 30 Visconti, Luchino 147 Vishnevsky, Aleksandr 4,

72, 90, 104, 117 Vuillard, Edouard 105-6

Walls (Naydyonov) 99 WeiH, Kurt 110 What ls To Be Done?

(Chernyshevsky) 100 Wild Duck, The (Ibsen) 3, 8,

85 Wild Honey, see Chekhov,

Anton: Without Patrimony Will-o' -the- Wisps

(Antropov) 39 Wisteria Trees, The

(Logan) 146 Woefrom Wit

(Griboyedov) 56, 130

172

Index

Yavorskaya, Lidiya 21-2 Yeats, W. B. 86 Yermolova, Mariya 29, 104 Yevgeny Onegin

(Tchaikovsky) 48, 115

Young, Stark 146

Zadek, Peter 147 Zaytsev, Boris 137 Zola, Emile 25

173