Anton Pavlovich Chekhov (18601904) overturned the dramatic conventions of his day and laid the groundwork for contemporary approaches to directing and acting. Now, for the first time, the full lyricism, humor, and pathos of his greatest plays are available to an English-speaking audience. Marina Brodskaya's new translations ofIvanov,The Seagull,Uncle Vanya,Three Sisters, andThe Cherry Orchardnot only surpass in accuracy all previous translations, but also provide the first complete English text of the plays, restoring passages entirely omitted by her predecessors. This much-needed volume renders Chekhov in language that will move readers and theater audiences alike, making accessible his wordplay, unstated implications, and innovations. His characters' vulnerabilities, needs, and neurosestheir humanityemerge through their genuine, self-absorbed conversations. The plays come to life as never before and will surprise readers with their vivacity, originality, and relevance.
Chekhov's desperate, comedic greatness comes through in these versions as never beforeand precisely those two qualities are required, for Chekhov is neither infernal tragedy nor trivial farce but a special sort of purgatorial comedy. I sensed this aura for the first time in Brodskaya's translations, and shivered while laughing. This is a contemporary American-English variant of world-famous plays cast at perfect pitch, by a person who
sees(as well as hears) words. [A]nyone who has taught Chekhov's plays or produced them theatrically, certainly anyone with a knowledge of the original texts, must have been frustrated by the marked defects of previous translations. Brodskaya's translation allows us to discover Chekhovian precision and the impact of his strategic word-choices, together with the light these shine on the fabric of modern drama and communication. It is deeply attuned to the spirit of Chekhov's language and his compassionate observationlcA