Shabloni Kassovih Chekov Word

— Anton Chekhov The death of Chekhov's brother Nikolay from tuberculosis in 1889 influenced A Dreary Story, finished that September, about a man who confronts the end of a life that he realises has been without purpose. Mikhail Chekhov, who recorded his brother's depression and restlessness after Nikolay's death, was researching prisons at the time as part of his law studies, and Anton Chekhov, in a search for purpose in his own life, himself soon became obsessed with the issue of prison reform. Sakhalin [ ] In 1890, Chekhov undertook an arduous journey by train, horse-drawn carriage, and river steamer to the Russian Far East and the, or penal colony, on, north of Japan, where he spent three months interviewing thousands of convicts and settlers for a census.

The letters Chekhov wrote during the two-and-a-half-month journey to Sakhalin are considered to be among his best. His remarks to his sister about were to become notorious. Chekhov biographies Chekhov's posthumous reputation greatly exceeded his expectations. The ovations for the play in the year of his death served to demonstrate the Russian public's acclaim for the writer, which placed him second in literary celebrity only to, who outlived him by six years. Tolstoy was an early admirer of Chekhov's short stories and had a series that he deemed 'first quality' and 'second quality' bound into a book. In the first category were: Children, The Chorus Girl, A Play, Home, Misery, The Runaway, In Court, Vanka, Ladies, A Malefactor, The Boys, Darkness, Sleepy, The Helpmate, and '; in the second: A Transgression, Sorrow, The Witch, Verochka, In a Strange Land, The Cook's Wedding, A Tedious Business, An Upheaval, Oh!

The Public!, The Mask, A Woman's Luck, Nerves, The Wedding, A Defenceless Creature, and Peasant Wives. In Chekhov's lifetime, British and Irish critics generally did not find his work pleasing; thought 'the effect on the reader of Chekhov's tales was repulsion at the gallery of human waste represented by his fickle, spineless, drifting people' and said 'Chekhov's characters were repugnant, and that Chekhov revelled in stripping the last rags of dignity from the human soul'. After his death, Chekhov was reappraised. 's translations won him an English-language readership and the admiration of writers such as,, and, whose story 'The Child Who Was Tired' is similar to Chekhov's 'Sleepy'.

Two months later, Admiral Uhura received word that Chekov was alive and being held on the Watraii homeworld. Uhura arranged another covert mission for Captain Saavik and the Alliance, this time to rescue Admiral Chekov.

The Russian critic, who lived in England, explained Chekhov's popularity in that country by his 'unusually complete rejection of what we may call the heroic values.' In Russia itself, Chekhov's drama fell out of fashion after the, but it was later incorporated into the Soviet canon.

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The character of Lopakhin, for example, was reinvented as a hero of the new order, rising from a modest background so as eventually to possess the gentry's estates. One of the first non-Russians to praise Chekhov's plays was, who subtitled his 'A Fantasia in the Russian Manner on English Themes,' and pointed out similarities between the predicament of the British landed class and that of their Russian counterparts as depicted by Chekhov: 'the same nice people, the same utter futility.' In the United States, Chekhov's reputation began its rise slightly later, partly through the influence of of acting, with its notion of: 'Chekhov often expressed his thought not in speeches,' wrote Stanislavski, 'but in pauses or between the lines or in replies consisting of a single word. The characters often feel and think things not expressed in the lines they speak.' The, in particular, developed the subtextual approach to drama, influencing generations of, screenwriters, and actors, including, and, in particular,. Programma raschet sistemi dimoudaleniya. In turn, Strasberg's and the approach influenced many actors, including and, though by then the Chekhov tradition may have been distorted by a preoccupation with realism. In 1981, the playwright adapted The Seagull as.