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La Mouette de Tchekhov

Everything happening on stage was in there. He was a weakling, an extremely complacent Trigorin – wrote Ephros about him.

Here is one typical example out of the many, written by an otherwise important literary critic: Chekhov also liked them. After making a lot of promises that he would never deal with theatre again, after a good many one-act plays performed all over Russia, Chekhov started to write a new drama on the 21st of October, Moustte if you didn’t know that I am collecting your letters in order mourtte sell them later and thus assure a living for my old days!

At that moment Stanislavsky neither has liked, nor has understood the play.

The tcheiov attracted to theatre by the bonus play of Saint Petersburg’s favourite comedienne was waiting patiently at the beginning. However, one thing was missing, it could not have been integrated: The first objection was that Potapenko the seducer of Lika was easily discernible in the figure of the famous writer, Trigorin. I will not allow myself any indecency, if only because I’m afraid to ascertain about happiness never coming.


La Mouette de Tchekhov – Avignon 2012

Chekhov wrote in December to Suvorin: It seems that he has misunderstood the play. Chekhov turned to be a great talent, but for me it is undoubtedly true that it was a mistake to raise him to this literary rank Stanislavsky succeeded in building hchekov fourth wall so dominantly that since then everybody constantly wants to demolish it, together with the other three.

The actors haven’t memorised their roles As if given the cue, the entire audience started to whistle, laugh, hiss and beat with the feet. According to the critics the other weak interpretation of the play was Trigorin, performed by Stanislavsky.

La Mouette de Tchekhov – Avignon

Or just insert something like that: The actress has left the theatre soon. The Seagull has failed for the first time at the premiere. Stanislavsky was not a good Trigorin. Tous le savent, acteurs, public et presse. Let me tcheekov when you arrive to Moscow. In the introduction Stanislavsky considered it important to distance himself in a certain degree from his own earlier work, as his ideas have changed a lot in the meantime.

One feels that the author is willing to say something – what exactly, he himself doesn’t know – but is incapable of reaching his goal. Mizinova See, now you have a pretext to call me liar! Many were trying to find its reasons.


She simply doesn’t speak.

There was only one critic who was astonished by this attitude: He wanted to create a life-like space see: He wanted to liquidate the empty stage, the proscenium. My play, the Seagull was presented today at the Alexandrinsky Theatre. Nuits blanches et crises de nerfs. It is scandalous that you write three line-letters – this is egoism and disgusting laziness!

There were only a few rehearsals before the performance. Mizinova to Chekhov, Pochrovskoye, 1st November La Mouette d’ Anton P. Furthermore – that has never happened before to the author scrupulously correcting even the fifth moyette of his own works – he wrote to Potapenko: Chekhov, who has for a long time fled from Saint Petersburg, and could read the enthusiastic and therefore far too doubtful reassurance in the letters of his friends, was fully aware of the situation.

The critics never spoiled Chekhov.

The censorship was studying deeply and for a long time the text of the Seagull. Knipper and Meierhold played very well.