Chekhov's plays and the "new drama"

The term "new drama" unites a number in principleother, innovative approaches to the theatrical art. Works by Maeterlinck, Ibsen, Shaw were created as a counterbalance to "well-made plays", the dominance of which was observed on the stages of Western European theaters. With a masterly twisted plot, they carried away the audience who had come to rest, but to leave any tangible mark in art were incapable.

As for Russian literature, in itthere is a different picture due to such a remarkable phenomenon as the Ostrovsky Theater. However, at the turn of the century his realistic aesthetics somewhat exhausted himself, giving way to a "new drama". Alexander Blok, Leonid Andreev and Maxim Gorky created her unique samples, although the change in the type of conflict, the modification of the plot are already observed in the drama of their older contemporary, Anton Pavlovich Chekhov.

Chekhov's plays

From vaudevilles to everyday tragedies

Researchers, who conducted an analysis of Chekhov's plays,there are several periods in his dramatic work. His early works (with the exception of Ivanov) were created in the genre of vaudeville and differ in the not yet established artistic system. At the same time, Chekhov's plays such as "The Bear", "The Wedding", are conceptually close to his late, lyrically-sad "Seagull" and "Cherry Orchard". Their central motives are the vulgarization of man and an attempt to obstruct this process. With one difference: in vaudeville, the playwright concentrates on philistines - people whose being merged with everyday life and thereby turned into everyday life.

Type of conflict

Published in 1896 Chekhov's play "The Seagull"completely corresponds to the principles of the "new drama", primarily due to a new type of conflict. Ever since the days of Shakespeare, it was believed that the conflict unfolds between the characters: Claudius and Hamlet, King Lear and his daughters. They weave intrigues, conspire against each other, in a word, act. Chekhov's plays (especially the Seagull) can be interpreted as a struggle of generations: the elder, represented by Arkadina, Trigorin, and the younger - by Konstantin Treplev and Nina Zarechnaya.

But is it really so? This question is indirectly answered by Chekhov himself, making comments on the "Meshchan" Maxim Gorky: "Just do not oppose him (the working Nile) to Peter and Tatyana, even if he is on his own, and they are on their own ..."

This statement is also applicable to the Seagull: in fact, does Trigorin or Arkadin somehow interfere with the actor's career of the main character? Are there any objective reasons, due to the actions of other characters, for which Andrei Prozorov abandoned science and got used to provincial life? A negative answer to these questions proves that the conflict in the "new drama" does not appear at all between the character and other actors. The main antagonist in the Chekhov plays is the Wall (the image is taken from the same name by Leonid Andreev), Someone in Gray, Fate herself, unpredictable and capricious.

the future in Chekhov's plays

Lyrical plot

Chekhov's plays are distinguished by a special plot construction. A fire near the estate of Prozorov, a duel between Tuzenbach and Soleny, the suicide of Treplev - all of these incidents are reported in passing, and, in fact, they have no influence on the course of events.

However, it would be an exaggeration to say that inplays of the playwright are absent as such. It becomes subtext, becomes lyrical. All the most important is hidden from the viewer, and only occasionally makes itself felt by absurd phrases (remember, at least, Chebutykin's "Tarara Bumby ...") or inappropriate actions. They reveal the incessant cogitative process of each of the characters. However, this stream of consciousness is objectified, fed back, thereby allowing researchers to talk about a new type of drama - a synthetic one, in which the epic and lyrical beginnings are combined.

play of the seagull

Space and time

"Blossoming cherries, a solid white garden ... And the ladies in white dresses "- something like this described Stanislavsky's new design Chekhov. The play "The Cherry Orchard" (it is the writer who means it) shows the importance of the landscape as a unit of the objective world of Chekhov's dramatic works. The nature is spiritualized, it is not "cast", "not a soulless face," but is filled with emotions of the heroes, becomes psychological.

As for time, for the heroes of "Threesisters "and other works, it acts as a destructive force, destroying hopes for a better life. The future in Chekhov's plays is always vague; often the writer resorts to an open ending, so characteristic of the "new drama".

Czechs play cherry orchard

Characters

Heroes of Chekhov's plays are people who are basically capable,gifted. And their talent is not limited to professional activities. Where less often there are bezdari like Professor Serebryakov or teacher Kulygin. This feature is explained by Chekhov's world view, who believed that the presence of talent is an inalienable feature of every person, the crown of the universe. In jurisprudence, there is a presumption of innocence. The writer would operate with another term - the presumption of talent, according to which each of us can manifest the talent inside, it would be only a suitable time for it.

analysis of Chekhov's plays

Value

Among the works of Strindberg, Ibsen and ShawChekhov's plays have found a worthy place. They fixed a new type of conflict, which has an existential character, relevant for later Russian and world literature.

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Chekhovs plays and the new drama

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Chekhovs plays and the new drama

Chekhovs plays and the new drama

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