By Vera Gottlieb
The Moscow paintings Theatre remains to be well-known as having extra impression on glossy theatre than any corporation on this planet. This lavishly illustrated and fantastically produced facsimile version of a Russian magazine from 1914 files, photographically, the premieres of all of Anton Chekhov's performs produced via the Moscow paintings Theatre, including:*The Seagull, *Three Sisters*Uncle Vanya*Cherry Orchard*Ivanov.Edited via popular theatre historian Vera Gottlieb, the amount additionally reproduces - for the 1st time in an English translation - introductions via Stanislavsky's collaborators Nemirovich-Danchenko and Efros. With a hundred seventy five special pictures, this can be a major contribution to our realizing of the origins of state-of-the-art theatre.
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Additional resources for Anton Chekhov at the Moscow Art Theatre: Archive Illustrations of the Original Productions
Simov. After the ﬁrst performance the play was taken off for about two weeks due to Mrs Knipper’s illness, and then it played to full houses until the end of the season. P. Chekhov was in Yalta. When they telegraphed him and wrote to him to tell him about the play’s success, it took a long time before he believed it: he thought that they were hiding the truth from him out of friendship. He only came to Moscow in the spring but the Theatre was not open then. With his arrival, close friendships quickly sprang up between Chekhov and the artists.
That spring, just at that time, there was a session of the Theatrical Literary Committee60 and Uncle Vanya was not approved for performance or – to be more exact – it was approved ‘on condition that the Third Act be re-written’. 61 The famous group photograph of Chekhov with the artists and directors of Seagull relates to this time62 [see Page 21, Illustration 32]. In the following season Seagull was retained in the repertoire, but performed haphazardly, with long breaks. I. M. [sic]. Seagull was then taken out of the repertoire in 1902 and only reinstated in 1905, but without much success for the Art Theatre.
54 With a characteristically Chekhovian ‘chord’, these new notes resounded subtly in the play. While Chekhov always became angry when deﬁned as a pessimist, with Cherry Orchard he had the right to become particularly angry. In this play there was no character now saying that one day ‘we will see the sky sparkle with diamonds’ [Sonia in Uncle Vanya, see illustration 73], nor did the characters say with a sigh that ‘in two or three hundred years, life would be beautiful’ [Three Sisters]. Here there is complete conﬁdence that we are planting a new and beautiful orchard.