Download e-book for kindle: Chekhov: The Essential Plays (The Seagull; Uncle Vanya, by Anton Chekhov

By Anton Chekhov

Simply because Chekhov's performs exhibit the universally recognizable, occasionally comedian, occasionally dramatic, frustrations of good humans attempting to make experience in their lives, they continue to be as clean and lively as once they have been written a century in the past. amassed right here in brilliant new renderings via the most extremely popular translators of our time--versions which have been staged through the usa, Canada, and nice Britain--are Chekhov's 4 crucial masterpieces for the theater.

Translated, with an creation and Notes, through Michael Henry Heim.

Contents:

The Seagull
Uncle Vanya
Three Sisters
The Cherry Orchard

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Additional info for Chekhov: The Essential Plays (The Seagull; Uncle Vanya, Three Sisters; The Cherry Orchard)

Sample text

He also must have had an enormous capacity for forgiveness, since he nearly loses his mobility after the pirates subject him to the “Malay boot,” in which his foot is encased in a viselike instrument that is gradually tightened until he reveals the location of the gold shipment. Fortunately, an officer (Lewis Stone in a grand performance), shunned as a coward, redeems himself by locating some grenades and saving the ship—but not himself. Will Gable exit with Rosalind, whom he met in London (don’t ask if Gable is supposed to be a Brit) when she was married?

It was the opposite with Bette Davis. D (1941) and June Bride (1948) found as little favor with the public as Rosalind’s attempts at serious drama in Sister Kenny (1946) and especially Mourning Becomes Electra (1947). Ironically, both Rosalind and Davis starred in films about the stage that proved commercially and critically successful: Rosalind in The Velvet Touch (1948) and Davis in All about Eve (1950); the former, a thriller in which Rosalind murders her producer and ex-lover; the latter, Joseph L.

Margaret Booth’s artful editing created the illusion that Harlow was doing her own dancing, making the long shots with her double look so authentic that it is almost impossible to tell the difference. All Harlow did was sashay around, tilting her jaw to the side and rolling her eyes dreamily. Even when she sang, particularly the haunting title song by Jerome Kern and Oscar Hammerstein, she lip-synched so perfectly that she seemed to be doing her own singing. No actress stood a chance playing opposite Harlow unless the screenplay allowed her to compete with, or at least complement, this study in luminosity.

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