Uncle Vanya

by Anton Chekhov

Overview

This structurally and psychologically compact drama takes place on an estate in 19th-century Russia, exploring the complex interrelationships between a retired professor, his second wife, and the daughter and brother-in-law from his first marriage. Interwoven themes of weakness, delusion, and despair–balanced by an underlying message of courage and hope–make this one of the most expressive of Chekhov's works.

Product Details

ISBN-13:	9783734013683
Publisher:	Outlook Verlag
Publication date:	09/20/2018
Pages:	54
Product dimensions:	5.83(w) x 8.27(h) x 0.13(d)

About the Author

Anton Chekhov (1860-1904) was a Russian doctor, short-story writer, and playwright. Born in the port city of Taganrog, Chekhov was the third child of Pavel, a grocer and devout Christian, and Yevgeniya, a natural storyteller. His father, a violent and arrogant man, abused his wife and children and would serve as the inspiration for many of the writer’s most tyrannical and hypocritical characters. Chekhov studied at the Greek School in Taganrog, where he learned Ancient Greek. In 1876, his father’s debts forced the family to relocate to Moscow, where they lived in poverty while Anton remained in Taganrog to settle their finances and finish his studies. During this time, he worked odd jobs while reading extensively and composing his first written works. He joined his family in Moscow in 1879, pursuing a medical degree while writing short stories for entertainment and to support his parents and siblings. In 1876, after finishing his degree and contracting tuberculosis, he began writing for St. Petersburg’s Novoye Vremya, a popular paper which helped him to launch his literary career and gain financial independence. A friend and colleague of Leo Tolstoy, Maxim Gorky, and Ivan Bunin, Chekhov is remembered today for his skillful observations of everyday Russian life, his deeply psychological character studies, and his mastery of language and the rhythms of conversation.

Editorial Reviews

So, what happens in Uncle Vanya? Not much; just life, played out over four acts. There are rich people, and there are people who work for the rich people, whom the rich people don't really care about. There is a gun fired in anger and desperation, but there aren't any bodies to carry off stage. There are men making fools of themselves over women. There are those who accept their fates and wait for their rewards in heaven, and there are others who don't care one way or another. There is a character whose name is in lights as the title, but he doesn't add up to all that much. Chekhov's play moves so languidly that, without a vibrant cast, an understanding director, and a lively translation, it stands the chance of passing under the radar of the average audience. Columbus's reworking of the script (done for Chicago's Steppenwolf Theatre Company) aims at accessibility, replacing the "outdated colloquialisms" and "brittle prose" of earlier translations. And, for the most part, it's OK. It's not revelatory or revolutionary, but it stands as good a chance as any of getting the audience to come back after intermission. Recommended for collections in need of a new copy of this work. Larry Schwartz, Minnesota State Univ. Lib., Moorhead Copyright 2002 Cahners Business Information.

Library Journal

...a vital and vibrant production that remains highly respectful of its source material... Chekhov would cheer.” —Evening Standard

“Now The Seagull has been Anglicised and pulled into the 21st century by award-laden wunderkind Anya Reiss” —The Independent

From the Publisher

"Nobody quite walks the tightrope between comedy and tragedy with the aplomb of Chekhov… in McPherson's version, more than any others I've seen, the women get to deliver the emotional gut-punches that balance the humour."

Broadway World

"[Conor McPherson's adaptation is] perfectly weighted... does not radically reinvent or revolutionise Chekov's 19th-century story. It returns us to the great, mournful spirit of Chekhov's tale about unrequited love, ageing and disappointment in middle-age, while giving it a sleeker, modern beat. McPherson's script has a stripped, vivid simplicity which quickens the pace of the drama... Every character is fully realised, including the ancillary roles that bring more than comic relief... a perfect tragicomedy."

Guardian

"A Vanya for our times."

Evening Standard

"As accessible as a TV drama, without ever betraying the great, melancholy, insightful soul that has made the play last for as long as it has. It is radical and revelatory without ever being gimmicky or insensitive… McPherson pulls off a feat of magical reinvention, and allows us to see the play anew."

WhatsOnStage

"Pevear and Volokhonsky are at once scrupulous translators and vivid stylists of English."

New Yorker

"McPherson's new adaptation feels almost impossibly contemporary in the way it packs in so much lust, wit, rage and regret."

The Times

"Succeeds resoundingly in making the turn-of-the-20th-century cares of the original resonate today… the contemporary relevance is startling."

The Arts Desk

"Pevear and Volokhonsky are at once scrupulous translators and vivid stylists of English."

New Yorker