1,355,687 research outputs found
Practice Research: Master Classes and Research Presentations on Michael Chekhov Technique for Professional Directors (2013-2016)
No full textThese three related outputs combined shared archival research (Chekhov Theatre Studio, Deirdre Hurst du Prey Archive, Dartington Hall), new insights, theoretical understandings and practical uses of Chekhov Technique for directors in contemporary theatre practice at different phases in the research project. This disseminated the research findings in a specific form of ‘Catalyst Direction’ to professional practitioners while further exploring and expanding on the understanding of the field, praxis methodology and related theoretical issues
ARTISTIC RECEPTION BY I. S. TURGENEV IN THE PROSE BY A. P. CHEKHOV
No full textThe work reveals the literary connections of A. P. Chekhov with I. S. Turgenev and through him, with other writers L. Tolstoy and B. M. Markevich. The stylistic nature of Chekhov’s talent has led to his intense dialogical interaction with contemporaries, which
manifested itself in the form of a predominantly implicit intertext. Unlike postmodernists, he has a weak textual position in Chekhov. Reduction is one of the dominant features of the intertextual poetics and practice of Chekhov. The basis of the reduction is the synecdoche, understood as the key principle of artistic world-modeling. The writer's works are filled with signs of other people's works. Chekhov does not force
the reader to search and interpret a muted intertext, therefore his works are polycode. Forms of mastering and processing of someone else's
text by Chekhov are in a wide range: from elementary metathesis to sophisticated inversions.
Turgenev longer than other writers remained the subject of Chekhov's artistic reflection. Allusions to his works begin with a
youthful play and go through all the work. This is explained by the fact that Turgenev’s writing technique and his art of irony were
close to Chekhov. At the same time, Chekhov's entire creative way is accompanied by the now ebbing, then growing, act of overcoming his imperious commitment to the work of his older contemporary. This lies in the mainstream of one of the most important problems of Chekhov's work and his entire life — the inner freedom of man
The English theatre studios of Michael Chekhov and Michel Saint-Denis, 1935-1965
Get PDFThis thesis charts the brief history of the theatre studios run in England
between 1935 and 1965 by Michel Saint-Denis (1897-1971) and Michael Chekhov (1891-
1955). They were the London Theatre Studio (1936-1939), run by Saint-Denis; The
Chekhov Theatre Studio at Dartington Hall (1936-1938); The Old Vic Theatre School
(1947-1952), initially part of the proposed Old Vic Theatre Centre, whose directors were
Michel Saint-Denis, George Devine and Glen Byam Shaw; and the RSC Studio (1962-
1965), run by Saint-Denis. All of these studios were dedicated to combining training and
experimentation in the development of ensemble companies and were therefore liminal
spaces combining elements of a theatre and a theatre school.
An introductory section briefly situates the practice of theatre studios in the
context of wider narratives of work, craftsmanship and artistry in the period and traces
their development from the Moscow Art Theatre Studio of 1905, as well as sketching
some significant parallels between Saint-Denis and Chekhov. The first two sections of
the thesis then explore the period from 1936 until 1952, looking first at Chekhov’s and
then at Saint-Denis’ studios, placing them in the context of the traditions of training and
exploration from which they emerged, and examining their practice and their legacies.
The final section of the thesis explores the direct impact of their practice on the Post
War British Theatre, focusing particularly on the Royal Shakespeare Company whose
Studio was run by Saint-Denis, and where Paul Rogers (one of Chekhov’s students) was a
leading actor. A short concluding section applies the principles of Chekhov’s and Saint-
Denis’ work to the practice of training and experimentation in 2012 and looks to the
future, to ask whether the studios whose work is explored in the main body of the thesis
have a role to play in the future development of the art of the theatre
COLOUR SYMBOLISM NIGHT LANDSCAPE OF A. P. CHEKHOV
Get PDFThis article examines the linguistic picture of the world of Anton Chekhov explores the nature of individual perception, implemented in the language of the writer. Words denoting colour, occupy an important place in the linguistic system. Author lexico-semantic field “colour-light designation” is more detailed than in the national language, composition. In the structure of the very constituents of the field, the tokens, there are changes, transformations: a complication semnai patterns of speech, because the semantics of the lexeme is influenced by the worldview of the artist. The greatest representativeness have the token black and white. They are characterized by the greatest frequency and complex semantic structure. Individual copyrights are the main categories of the attitude of the writer (death, boredom, sadness, indifference, loneliness). A. P. Chekhov displays adjectives beyond the underlying value, widely using them to create images. Building abstract images, the writer often takes inspiration from the visual image, including color
COLOUR SYMBOLISM NIGHT LANDSCAPE OF A. P. CHEKHOV
No full textThis article examines the linguistic picture of the world of Anton Chekhov explores the nature of individual perception, implemented in the language of the writer. Words denoting colour, occupy an important place in the linguistic system. Author lexico-semantic field “colour-light designation” is more detailed than in the national language, composition. In the structure of the very constituents of the field, the tokens, there are changes, transformations: a complication semnai patterns of speech, because the semantics of the lexeme is influenced by the worldview of the artist. The greatest representativeness have the token black and white. They are characterized by the greatest frequency and complex semantic structure. Individual copyrights are the main categories of the attitude of the writer (death, boredom, sadness, indifference, loneliness). A. P. Chekhov displays adjectives beyond the underlying value, widely using them to create images. Building abstract images, the writer often takes inspiration from the visual image, including color
Irony as a Means of Characteristics in the Works of A. P. Chekhov
Get PDFThis article discusses the irony as a conceptual category of artistic text, which enters the author's assessment in implicit form. An ironic meaning as an integral component of the artistic text is an estimated emotional method of representation of the worldview and the values of the author. The means of explication of irony in the works of A.P. Chekhov of various genre affiliation (epic, dramaturgical genres). Similarities and differences are established in using author’s infection of irony in a number of works. Irony as a means of characteristics in the works of A.P. Chekhov "Chameleon", "horsepower", "Nalim", "Agafya", "Grisha", "Nightmare", "Seagull", "Cherry Garden", with the author's ironic characteristics of the characters. It is concluded that the genre features of the artwork affect the use by the author’s ironic expression
Anton Chekhov
No full textPortrait by Osip Braz. Anton Pavlovich Chekhov was a Russian physician, dramaturge and author who is considered to be among the greatest writers of short stories in history. His career as a dramatist produced four classics and his best short stories are held in high esteem by writers and critics. Chekhov practiced as a medical doctor throughout most of his literary career: 'Medicine is my lawful wife', he once said, 'and literature is my mistress.' Chekhov renounced the theatre after the disastrous reception of The Seagull in 1896, but the play was revived to acclaim in 1898 by Constantin Stanislavski's Moscow Art Theatre, which subsequently also produced Chekhov's Uncle Vanya and premiered his last two plays, Three Sisters and The Cherry Orchard. These four works present a challenge to the acting ensemble as well as to audiences, because in place of conventional action Chekhov offers a 'theatre of mood' and a 'submerged life in the text.
Anton Chekhov
No full textPortrait. Anton Pavlovich Chekhov was a Russian physician, dramaturge and author who is considered to be among the greatest writers of short stories in history. His career as a dramatist produced four classics and his best short stories are held in high esteem by writers and critics. Chekhov practiced as a medical doctor throughout most of his literary career: 'Medicine is my lawful wife', he once said, 'and literature is my mistress.' Chekhov renounced the theatre after the disastrous reception of The Seagull in 1896, but the play was revived to acclaim in 1898 by Constantin Stanislavski's Moscow Art Theatre, which subsequently also produced Chekhov's Uncle Vanya and premiered his last two plays, Three Sisters and The Cherry Orchard. These four works present a challenge to the acting ensemble as well as to audiences, because in place of conventional action Chekhov offers a 'theatre of mood' and a 'submerged life in the text.
Chekhov in the Context of the Literary-Theatrical Culture of Iraq (A re- view of the book: Abbaskhilmi A. Ya., Larionova M. Ch. The works of A. P. Chekhov in Iraq: Receptions and Interpretations. Rostov-on-Don: Publishing House of the Southern Scientific
No full textThe review covers the main content of the book, which includes three semantic blocks. The first block, a historical-literary one, is devoted to the perception of the personality and creative activity of A. P. Chekhov by Iraqi criticism. The second one analyzes the performances of Chekhov’s works on the stages of Iraq. The third block contains the Russian translations of the texts of the plays written by the Iraqi writer A. Naim, based on the works of Chekhov. The review highlights the range of problems analyzed by the authors of the book and the methodological aspects of comparative analysis and receptive poetics. The author of the article notes the specific features and peculiarities of the intercultural translation of the texts of Chekhov’s works from one artistic lan- guage into another in the situation in which the author and the readers belong to different cultural traditions. The review focuses on the fact that the study of the Arab perception of Chekhov’s personality and creative activity al- lows the researcher to see the Russian culture in a new light and to better understand the Arab culture. Attention is drawn to the fact that the presentation of Chekhov’s plays on the Arab stage takes place in a completely different cultural-historical tradition. This tradition is based on the folk theater and religious mysteries. They determine the apperceptive background and cultural experience not only of Iraqi audience, but also of the authors acting as retranslators of Chekhov’s works. The article emphasizes the significance of the appendix with the texts of five plays by Naim in Russian translation, which are remakes of Chekhov’s works. The advantage of the book is the absolute novelty of the material, a new vision of the problems and a heuristic approach to them, and the semantic expansion of the content of well-known literary works
A.P. CHEKHOV AS A READER
No full textThe purpose of this article is to describe the reading practices of A.P. Chekhov during the formation and development of his writing talent. The research focuses mainly on Chekov’s epistolary heritage from 1876 until 1888. In his correspondence with family, friends, aspiring writers, publishers and well- known figures of Russian culture of the 1870s and 1880s preferences and interests of the writer can be identified in reference to articles, newspapers, magazines and books he liked to read. A wide range of Russian and foreign books and articles that Chekhov read contributed to not only the achievement of literary excellence, but also to the formation of Chekhov as a person. The evolution of Chekhov as a reader from 1876 to 1888 is particularly important for understanding the origins of the poetic style of his prosaic and dramatic works
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