Anton Chekhov

n the final years of his life, Chekhov produced some of the stories that rank among his masterpieces, and some of the most highly-regarded works in Russian literature. The poignant 'The Lady with the Little Dog' and 'About Love' examine the nature of love outside of marriage - its romantic idealism and the fear of disillusionment. And in stories such as 'Peasants', 'The House with the Mezzanine' and 'My Life' Chekhov paints a vivid picture of the conditions of the poor and of their powerlessness in the face of exploitation and hardship. With the works collected here, Chekhov moved away from the realism of his earlier tales - developing a broader range of characters and subject matter, while forging the spare minimalist style that would inspire such modern short-story writers as Ernest Hemingway and William Faulkner.

"Pevear and Volokhonsky are at once scrupulous translators and vivid stylists of English." --New YorkerThe Seagull as you've never read it before, this brand new edition includes passages that were omitted from the widely-known version of the play originally performed at the Moscow Art Theater in 1898. The volume contains both the canonically recognized version as well as the newly restored original text written by Chekhov. Throughout this groundbreaking adaptation of the revered work, never-before-seen lines are "restored" to their original use in the play as Chekhov intended, adding richer and fuller dimension to the well-known characters. The renowned playwright Richard Nelson--together with preeminent Russian translators Richard Pevear and Larissa Volokhonsky--presents this exciting new volume of Chekhov's beloved work. Richard Nelson's many plays include Rodney's Wife, Goodnight Children Everywhere, Drama Desk-nominated Franny's Way and Some Americans Abroad, Tony Award-nominated Two Shakespearean Actors, James Joyce's The Dead (with Shaun Davey), for which he won a Tony Award for Best Book of a Musical, and the critically acclaimed, searing play cycles The Apple Family and The Gabriels. Richard Pevear and Larissa Volokhonsky have produced acclaimed translations of Leo Tolstoy, Fyodor Dostoevsky, Nikolai Gogol, Anton Chekhov, and Mikhail Bulgakov. Their translations of The Brothers Karamazov and Anna Karenina won the 1991 and 2002 PEN/Book-of-the-Month Club Translation Prizes. Pevear, a native of Boston, and Volokhonsky, of St. Petersburg, are married to each other and live in Paris. A never before published edition of Chekhov's classic with an all-new translation

Kogo mozhet ostavit ravnodushnym vals Evgenija Dogi, napisannyj k filmu "Moj laskovyj i nezhnyj zver"? Filmu, snjatomu po motivam povesti Antona Chekhova "Drama na okhote". "Drama na okhote" - odna iz rannikh rabot Chekhova, napisannaja v redkom dlja pisatelja zhanre detektiva. Odnako, nesmotrja na detektivnuju formu, na pervom plane v povesti psikhologizm i dushevnye perezhivanija geroev. "Drama na okhote" - eto istorija junoj krasavitsy Olenki Skvortsovoj, ee zhizni, ljubvi i smerti. V sbornik takzhe voshla povest "Duel".

Anton Chekhov, who is often credited with inventing the modern short story, wrote many volumes worth of stories during his lifetime. Considered by many as one of the greatest short story writers of all time, Chekhov's extraordinary storytelling gift is exemplified in this volume of twenty-three of his most popular stories. "Ward No. 6 and Other Stories" includes the following stories: "The Cook's Wedding," "The Witch," "A Dead Body," "Easter Eve," "On the Road," "The Dependents," "Grisha," "The Kiss," "Typhus," "The Pipe," "The Princess," "Neighbours," "The Grasshopper," "In Exile," "Ward No. 6," "Rothschild's Fiddle," "The Student," "The Darling," "A Doctor's Visit," "Gooseberries," "The Lady with the Dog," "In the Ravine," and "The Bishop." This edition is printed on premium acid-free paper and follows the translations of Constance Garnett.

Anton Pavlovich Chekhov (1860-1904) - prozaik i dramaturg, bezuslovnyj klassik mirovoj literatury. V etom tome sobrana chast naibolee izvestnykh rasskazov Chekhova, predstavljajuschikh raznye periody ego tvorchestva. Blestjaschij master korotkoj literaturnoj formy, Chekhov sozdal uznavaemyj i dostovernyj mir, v kotorom, kak i v realnoj zhizni, dobru, krasote i ljubvi protivostojat poshlost, bezdarnost i zavist. "Esli govorit o literaturnoj mode - Chekhov nichej sovremennik, on vsem postoronnij, i, buduchi vpolne jasnym, byl ponjat ne srazu i vo mnogom ne ponjat do sikh por. Odnako zhe, vse kak-to srazu soglasilis i ubezhdeny do sikh por, chto Chekhov - na vse vremena. Navsegda" (Andrej Dmitriev). Soprovoditelnaja statja Andreja Dmitrieva Andrej Viktorovich Dmitriev (1956 g. r.) - russkij pisatel i stsenarist. Vypusknik filfaka MGU i stsenarnogo fakulteta VGIKa. Laureat rjada literaturnykh premij, sredi kotorykh literaturnaja premija Apollona Grigoreva za povest "Doroga obratno", "Russkij Buker" i "Jasnaja Poljana" za roman "Krestjanin i tinejdzher". Postojannyj avtor i laureat premii zhurnala "Znamja". V nastojaschee vremja zhivet i rabotaet v Kieve.

Rasskazy i povesti Chekhova, napisannye i opublikovannye s 1883-go po 1891 god, predstavljajut soboj tvorcheskuju illjustratsiju razvitija avtorskogo darovanija. V korotkikh anekdotakh, stsenkakh i jumoreskakh, publikuemykh v nachale 1880-kh godov, Chekhov formiruet svoj osobyj satiricheskij vzgljad na sotsialnoe rassloenie i ostro vysmeivaet prezhde vsego chinovnichestvo i tserkovnikov. K kontsu desjatiletija ostryj jumor ustupaet mesto pessimizmu - proizvedenija etogo vremeni razvivajut mysl ob odinochestve, "zabroshennosti" sovremennogo avtoru pokolenija. Khudozhniki-satiriki Kukryniksy (tvorcheskaja gruppa, v kotoruju vkhodili Mikhail Kuprijanov, Porfirij Krylov, Nikolaj Sokolov) sozdajut seriju risunkov, kotorye podcherkivajut i dopolnjajut jumor Chekhova. Tekst pechataetsja po izdaniju: Chekhov A. P. Polnoe sobranie sochinenij i pisem: v 30 t. - T. 2-7. - M.: Nauka, 1974-1983. Khudozhnik: Kukryniksy

Rasskazy i povesti Chekhova, napisannye i opublikovannye s 1892 po 1903 god, sovsem ne pokhozhi na rannee tvorchestvo Antoshi Chekhonte. V 1890 godu Chekhov otpravljaetsja na katorzhnyj Sakhalin. Vse tvorchestvo "postsakhalinskogo" vremeni tak ili inache neset na sebe ottenok perezhitogo tam. Mnogie geroi pozdnego Chekhova vosprinimajut svoe suschestvovanie kak tjuremnoe zakljuchenie, stremjatsja vyrvatsja iz nego, no nigde ne nakhodjat zhelannoj svobody. Tem ne menee v svoem zrelom tvorchestve Chekhov ne lishen very v luchshee i mnogie svoi rasskazy posvjaschaet ljubvi. Khudozhniki-satiriki Kukryniksy (tvorcheskaja gruppa, v kotoruju vkhodili Mikhail Kuprijanov, Porfirij Krylov, Nikolaj Sokolov) vsled za avtorom menjajut nastroenie risunkov - ot satiricheskoj mrachnosti k chuvstvennoj lirichnosti. Tekst pechataetsja po izdaniju: Chekhov A. P. Polnoe sobranie sochinenij i pisem: v 30 t. - T. 8-10. - M.: Nauka, 1974-1983. Khudozhnik: Kukryniksy

V sbornik voshli izvestnye jumoristicheskie rasskazy pisatelej nachala XX veka: A. Averchenko, N. Teffi, Sashi chernogo, A. Chekhova.

Features the following classic short stories: THE LADY WITH THE DOG, A DOCTOR'S VISIT, AN UPHEAVAL, IONITCH, THE HEAD OF THE FAMILY, THE BLACK MONK, VOLODYA, AN ANONYMOUS STORY, THE HUSBAND.

"... Rasskazu etomu prishlos projti vse tartary, nachinaja s moego stola i konchaja karmanom bogomolki. Delo v tom, chto, prinesja svoj rasskaz v zdeshnij pochtamt, ja byl ogoroshen izvestiem, chto pochta ne idet v voskresene... Eto menja zarezalo. Ostavalos chto-nibud iz dvukh: ili pochit na lavrakh, ili zhe mchatsja na zheleznodorozhnuju stantsiju (21 versta) k pochtovomu poezdu. Ja ne sdelal ni togo, ni drugogo, a reshil poruchit moju korrespondentsiju komu-nibud iduschemu na stantsiju. Jamschikov ja ne nashel. Prishlos poklonitsja tolstoj bogomolke... Esli bogomolka pospeet na stantsiju k pochtovomu poezdu i sumeet opustit pismo v nadlezhaschee mesto, to ja torzhestvuju, esli zhe Bog ne spodobit ee posluzhit literature, to..." A. P. Chekhov. Iz pisma k N. A. Lejkinu. 1884 g.

V sbornik vkljucheny veselye rasskazy o shkolnikakh pisatelej nachala XX veka: Sashi Chernogo, A. Chekhova, N. Teffi, A. Averchenko, I. Ljubich-Koshurova

A fresh take on a classic by the Tony Award-winning playwright of The Humans "Mr. Karam's plays aren't tearful, but they are often about loss--of love, of health, of innocence--and the messy, haphazard, necessary ways we get on with our lives afterward... He specializes in painful comedies that really shouldn't be as funny as they are. Karam is a mature writer, very much in command of his gifts." --New York Times "Stephen Karam is among the very best of his generation of playwrights." --New York Magazine "The more you see Anton Chekhov's final play, the weirder it seems... The Cherry Orchard contains distinctly bizarre touches: unexplained offstage noises, ominous portents of revolution, and a morbid ending that's nearly Beckettian... Adapter Stephen Karam layers American accents (racial and immigration anxieties) into his lean, accessible script." --Time Out New York Stephen Karam is known for his dedication to exploring the idiosyncrasies of human speech and behavior--the subtleties, the depth, and the won­derfully awkward minutiae. With this new adaptation of The Cherry Orchard, Chekhov's canonical masterpiece about a family on the brink of bankruptcy, Karam's fluid style pairs harmoniously with the work of the master playwright. Stephen Karam is the author of two plays that were named finalists for the Pulitzer Prize for Drama: The Humans in 2016 and Sons of the Prophet in 2012. The Humans won the 2016 Tony Award for Best Play. His other work includes the play Speech & Debate and a film adaptation of Chekhov's The Seagull for Sony Pictures Classics.

Pembrokeshire, 1982. Things are going to change. This radical reworking of Chekhov’s The Cherry Orchard places the action in early 80s Wales, at the dawn of another revolution – the Thatcher regime. Bloumfield sits on the sun-kissed south Pembrokeshire coast; a rambling, ramschackle old manor house where Rainey raised her children, surrounded by golden beaches and lush green orchards. But the death of her beloved son and husband sent Rainey fleeing to London, abandoning what remained of her family. Now, with the bank threatening to repossess, Rainey's daughters drag her back to Bloumfield. Rainey will have to face her ghosts - and her furious daughters - or lose everything. This reworking of Chekhov's play was first performed at the Sherman Theatre, Cardiff.

Chekhov’s celebrated masterpiece is given vibrant new life in this dynamic new version by Olivier Award-winning playwright Simon Stephens. Switching effortlessly between the ridiculous and the profound, The Seagull forensically examines the transcendence and destructiveness of love. The burning need to create art and how harshly that need can be crushed permeates the play. Simon Stephens' new adaption of The Seagull received its premiere at the Lyric Hammersmith, London on 3 October 2017.

In the follow-up to his National Translation Award-winning collection The Undiscovered Chekhov, translator and scholar Peter Constantine brings us more little-known work from the Chekhov's early days as a magazine writer, pseudonymously turning out pieces for Russia's small middle class. These stories are fresh, yet mature, snapshots of the style with which Chekhov would come to be associated, both uproariously tragic and darkly comic, and lit from within by a deep feeling of fellowship for all of humanity. As his readers have come to expect, Constantine has translated this work with a masterly command of both languages' subtleties, capturing the shadings and intricacies of Chekhov's writing that flash and recede like sunlight on an orchard, offering Chekhov's tough and amused perspectives on love, aging, class, and work. With moments that seem to presage the most contemporary writing, Chekhov's Little Apples reveals one of the world's greatest writers as we have rarely seen him, an author both deeply of his times and far ahead of them.

V knigu voshli samye izvestnye rasskazy A. P. Chekhova: "Kashtanka", "Khameleon", "Vanka", "Chelovek v futljare", "Palata ? 6", "Dama s sobachkoj" i drugie, izuchenie kotorykh predusmotreno shkolnoj programmoj. Rasskazy Chekhova korotki, no za vidimoj prostotoj v nikh skryty glubina smysla i slozhnost khudozhestvennogo postroenija. Lakonichnost, potrjasajuschij jumor, ironija i bogatoe soderzhanie delajut ikh unikalnymi i ne imejuschimi analogov v mirovoj literature. Maksim Gorkij pisal: "Nikto ne ponimal tak jasno i tonko, kak Anton Chekhov, tragizm melochej zhizni, nikto do nego ne umel tak besposchadno pravdivo narisovat ljudjam pozornuju i tosklivuju kartinu ikh zhizni v tusklom khaose meschanskoj obydenschiny".

Zestier and more colloquial than most translations . . . Letts' main achievement here is to make Chekhov more emotional, accessible and active.--Chicago TribuneI've seen over a dozen Three Sisters, but never has the final scene . . . registered so hard. It's the cumulative effect of . . . searing truth-telling--from Letts, who knows family dysfunction as only the author of August: Osage County can, and Chekhov, the good doctor who diagnoses all our weaknesses that are so strong.--Chicago Theater BeatWhen the champion of modern family drama takes on the genre's patriarch, the result is an energetic and vitalizing adaptation of one of Anton Chekhov's most beloved plays. A cruder, gruffer outline of the plight of the wistful Prozorov sisters serves to emphasize the anguish of their Chekhovian stagnation. This latest work from Letts envisions the revered classic through a fresh lens that revives the passionate characters and redoubles the tragic effect of their stunted dreams. Tracy Letts was awarded the 2008 Pulitzer Prize for Drama and Tony Award for Best Play for August: Osage County. His other plays include Superior Donars; Pulitzer Prize-finalist Man from Nebraska; Killer Joe, which was adapted into a critically acclaimed film; and Bug, which has played in New York, Chicago and London and was adapted into a film. Letts garnered a Tony Award for his performance in the Broadway revival of Who's Afraid of Virginia Woolf?

This collection of lesser-known early short fiction – ranging from absurd humorous sketches to psychological dramas and tragic tales – demonstrates Anton Chekhov’s mastery of the genre, with stories about marital infidelity, betrayal, deception and love in its various forms. Although varying in tone and purpose, what these tales have in common is a profound and subtle understanding of the human condition, in its farcical and melancholy aspects, couched in Chekhov’s trademark minimalist style.