What is Chekhov's method of ensuring audience participation? What
does his stage direction 'through tears' mean? What happens between
the first and second acts of The Seagull? Is there any reason for
the despondency in Chekhov's drama? This book, first published in
1972, discusses these questions and many other issues around
Chekhov's last four plays. David Magarshack, the leading translator
and biography of many of Russia's greatest writers, closely
examines Chekhov's work for the relevant facts about his writing,
and demonstrates that no reliance should be placed on the so-called
subtext which can introduce all sorts of irrelevancies arising from
pre-conceived ideas about the plays. A careful reading of Chekhov's
text itself is all that is needed to correct the familiar
distortions of his characters and themes.
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