Chekhov and the Moscow Art Theater: Crash Course Theater #34
Summary
TLDRCrash Course Theater explores Anton Chekhov's influence on Russian modernism and the Moscow Art Theater. The video delves into Chekhov's life, his transition from medicine to literature, and his unique approach to realism in plays like 'The Seagull' and 'The Cherry Orchard.' It discusses the Moscow Art Theater's commitment to psychological realism and Konstantin Stanislavski's evolving acting system, which has significantly impacted Western theater and acting techniques.
Takeaways
- đ Anton Chekhov is celebrated as Russia's greatest playwright and a significant figure in the early years of Russian modernism.
- đŸ The script humorously introduces the topic with the mention of pickles, brown bread, and vodka, hinting at the cultural elements associated with Chekhov's work.
- đ Early Russian drama was influenced by European styles, including mystery plays and neoclassical works, with a unique twist of anti-Napoleon themes.
- đ Empress Catherine the Great played a role in the development of Russian theater by allowing the first professional theater and even writing plays herself.
- đ Russian romantic theater was marked by the works of Alexander Pushkin and Mikhail Lermontov, but was hindered by censorship.
- đ° Realism in Russian theater arrived early, with notable works by Ivan Turgenev and Alexander Ostrovsky, despite the state-controlled and censorship-heavy environment.
- đšââïž Anton Chekhov was a trained doctor who became a renowned playwright, often incorporating elements of his medical knowledge into his literature.
- đ Chekhov's plays, such as 'The Seagull,' initially faced criticism but were later recognized for their realistic portrayal of life and innovative use of subtext.
- đł 'The Cherry Orchard,' Chekhov's last play, is highlighted as an example of his realistic drama and use of symbolism, representing the end of an old order.
- đš The Moscow Art Theater, founded by Vladimir Nemirovich-Danchenko and Konstantin Stanislavski, was pivotal in promoting psychological realism in acting and staging.
- đ€čââïž Stanislavski's system for actor training, despite various interpretations and translations, has had a lasting impact on Western theater, film, and television.
Q & A
Who is Mike Rugnetta and what is the focus of the video?
-Mike Rugnetta is the presenter of Crash Course Theater. The video focuses on exploring Anton Chekhov, the Moscow Art Theater, and the early years of Russian modernism, including the themes of laughter, tears, and vodka.
What was the state of early Russian drama?
-Early Russian drama was similar to that of France, Germany, and Italy, with mystery plays and folk comedies that evolved into neoclassical scholastic plays, some of which were anti-Napoleon dramas.
Who was the first to allow a professional theater in Russia and what did she contribute?
-Empress Catherine the Great allowed the first professional theater to open in St. Petersburg in the mid-1700s. She also wrote comedies and adapted 'The Merry Wives of Windsor' with Russian names.
What were the challenges faced by Russian romantic theater?
-Russian romantic theater faced challenges due to censorship, which led to the unproduced works of Alexander Pushkin and Mikhail Lermontov for years.
Who is Anton Chekhov and what is significant about his background?
-Anton Chekhov is considered Russia's greatest playwright. He was born in 1860, his paternal grandfather had been a serf, and he trained as a doctor while devoting himself to literature.
What was the initial reception of Chekhov's 'The Seagull'?
-Chekhov's 'The Seagull' initially flopped when it was produced in 1896. The actors struggled with their lines, and the audience booed, leading Chekhov to leave the theater and vow never to write another play.
How did the Moscow Art Theater come to be associated with Chekhov's works?
-Vladimir Nemirovich-Danchenko, a writer and theater director, loved 'The Seagull' and remounted it at the newly founded Moscow Art Theater, leading to Chekhov writing three more major works.
What is unique about Chekhov's approach to playwriting?
-Chekhov's plays are unique because they feel like life, with less focus on climaxes or cliffhangers, and more on everyday activities. He emphasized the importance of showing life as it really is on stage.
What is the significance of 'The Cherry Orchard' in Chekhov's work?
-'The Cherry Orchard' is significant as Chekhov's last play, showcasing his prevalent themes and style, including the use of subtext and the idea that happiness or life's tragedies can occur during everyday moments.
What was the Moscow Art Theater's approach to acting and staging?
-The Moscow Art Theater, founded by Nemirovich-Danchenko and Konstantin Stanislavski, aimed for realism and naturalism in acting and staging, focusing on psychological realism to make characters appear, sound, and feel real.
What is the Stanislavski System and how has it influenced Western theater?
-The Stanislavski System is a method of actor training developed by Konstantin Stanislavski, focusing on thorough training of the body and voice, understanding of stage techniques, and psychological realism. Despite some mistranslations and changes, it dominates Western theater, film, and television.
Outlines
đ Early Russian Drama and Chekhov's Realism
This paragraph introduces the historical context of Russian theater, from its early forms influenced by Western traditions to the rise of realism. Anton Chekhov's unique approach to playwriting is highlighted, emphasizing his focus on capturing the essence of everyday life on stage. Chekhov's background as a doctor and a writer is briefly mentioned, along with the initial failure of his play 'The Seagull' and its subsequent success at the Moscow Art Theater. The paragraph also touches on Chekhov's understanding of life's mundane moments and his mastery of subtext, which contributed to the enduring impact of his plays.
đł 'The Cherry Orchard': Chekhov's Symbolic Drama
This paragraph delves into the plot and themes of Chekhov's 'The Cherry Orchard,' providing a synopsis of the main characters and their dilemmas. It discusses the play's portrayal of societal change, as represented by the titular orchard, and the characters' responses to it. The paragraph also examines Chekhov's use of subtext, particularly in the scene where Lopakhin and Varya's relationship is hinted at through non-verbal cues. The summary concludes with a reflection on Chekhov's potential artistic trajectory had he lived longer and a brief mention of his untimely death.
đš The Moscow Art Theater and Stanislavski's System
The final paragraph focuses on the establishment of the Moscow Art Theater and the development of Konstantin Stanislavski's acting system. It outlines the theater's founding principles, its commitment to realism and naturalism, and the evolution of its acting troupe. The paragraph provides an overview of Stanislavski's method, which includes thorough actor training, observation of real-life behaviors, and the exploration of characters' 'given circumstances.' It also addresses the limitations and misconceptions surrounding the system, particularly the controversial 'emotion memory' technique and the emphasis on living in the moment on stage. The summary concludes with a nod to the system's pervasive influence on Western theater and acting education.
Mindmap
Keywords
đĄAnton Chekhov
đĄMoscow Art Theater
đĄRussian modernism
đĄRealism in theater
đĄSubtext
đĄThe Seagull
đĄStanislavski's system
đĄSymbolism in theater
đĄNeoclassical plays
đĄCensorship
đĄThe Cherry Orchard
Highlights
Anton Chekhov is introduced as Russia's greatest playwright and a man with a deep connection to Russian culture.
Chekhov's plays are characterized by a realism that reflects the mundane aspects of life, unlike traditional dramatic climaxes and resolutions.
The Moscow Art Theater, co-founded by Vladimir Nemirovich-Danchenko and Konstantin Stanislavski, was dedicated to realism and naturalism in theater.
The 'Seagull' emblem of the Moscow Art Theater symbolizes the success of Chekhov's play 'The Seagull', which was revived by the theater after its initial failure.
Konstantin Stanislavski developed an influential system for actor training that focused on psychological realism and expressive physical exploration.
Chekhov's approach to writing scenes with less eventfulness brought a texture of life to his plays, making them feel more genuine.
The subtext in Chekhov's plays is a key element, where characters often convey meaning indirectly through their actions and dialogue.
Chekhov's 'The Cherry Orchard' is used as an example to illustrate his themes and style, particularly the idea that significant moments in life can occur during ordinary activities.
The auction scene in 'The Cherry Orchard' is depicted through idle conversation rather than direct action, showcasing Chekhov's unique approach to drama.
The 'mooing scene' in 'The Cherry Orchard' is highlighted as a powerful example of subtext and the indirect expression of emotions.
Chekhov's work suggests a move towards symbolism, as seen in the representation of 'The Cherry Orchard' and the mysterious sound of a breaking string.
The Moscow Art Theater's approach to creating a troupe of colleagues rather than stars and supporting players was a significant shift in theater production.
Stanislavski's system, despite its variations and mistranslations, has had a lasting impact on Western theater, film, and television.
The Crash Course Theater series is produced in association with PBS Digital Studios, offering a range of educational content on various topics.
The transcript provides a comprehensive overview of the early years of Russian modernism in theater, including the contributions of Chekhov and the Moscow Art Theater.
Transcripts
Hey there! Iâm Mike Rugnetta, this is Crash Course Theater,
and those of you of legal drinking age should get your pickles and bites of brown bread ready,
because today weâre exploring Anton Chekhov, Â
the Moscow Art Theater, and the early years of Russian modernism.
That means laughter and tears and vodka. Lots of vodka.
Also, who is gonna pay the mortgage!?
Lights up!
[INTRO MUSIC]
Early Russian drama looked a lot like the theatrical early years of France, Â
Germany, or Italy.
There were mystery plays and folk comedies that eventually Â
gave way to neoclassical scholastic plays.
Although in Russia, a bunch of the neoclassical playsÂ
were specifically anti-Napoleon dramas, so thatâs a new twist, I guess.
Empress Catherine the Great allowedÂ
the first professional theater to open in St. Petersburg in the mid-1700s.
She even wrote a bunch of not-so-great comediesÂ
and her own version of âThe Merry Wives of Windsor,â
where all the characters got Russian names.
She described her own work as a âfree but feeble adaptationâ.
Russiaâs dramatic literary tradition didnât really start until romanticism took over,
led by Alexander Pushkin and Mikhail Lermontov âthough their works went unproduced for years.Â
Because of censorship.
And then Aleksey Tolstoy, a distant relative of Lev aka Leo Tolstoy,
wrote a trilogy of plays about Ivan the Terrible
that pretty much closed the not-very-thick book on Russian romantic theater.
Itâs the only not very thick Russian book that has ever existed.
But fun fact: For a country so state-controlled and censorship-heavy, Â
realism came to Russia pretty early.
Examples include Ivan Turgenevâs melancholy 1850s comedy âA Month in the Country,â
about affairs on a rural estate, and Alexander Ostrovskyâs middle-class comedies and dramas.
A.F. Pisemskyâs âA Bitter Fateâ even followed Â
Zolaâs naturalistic precepts a decade before Zola wrote them.
Nikolai Gogol and Leo Tolstoy wrote more controversial plays: Â
Gogolâs was a farcical look at provincial corruption, Â
âThe Government Inspector,â and Tolstoyâs a baby-murdering classic,
âThe Power of Darkness,â which we looked at in our episode on French naturalism.
But censorship meant that these plays sometimes waited decades before being produced.
Into this world arrived Anton Chekhov, Â
Russiaâs greatest playwright and a man who really knew his way around a samovar.
Chekhov was born in 1860. His paternal grandfather had been a serf.
Chekov trained as a doctor and, though he continued to practice medicine, Â
he devoted himself to literature, mostly as a short story writer at first.
Just as he finished medical school, he developed tuberculosis, Â
but he was financially responsible for his family, so he ... ignored it.
A few years later, he wrote his first produced play, âIvanov.â
But even though it was a hit, Chekhov considered it a disappointment.
In 1895, he wrote his first major dramatic work, âThe Seagull.â
It was produced the next year and it flopped. Hard.
The actors didnât know their lines, the audience booed like crazy.
Chekhov ran out of the theater in the middle of Â
the second act and said that he would never write another play.
But⊠a writer and theater director named Vladimir Nemirovich-Danchenko Â
loved the play and remounted it at the newly founded Moscow Art Theater.
Chekhov then wrote three more major works,Â
âUncle Vanya,â âThe Three Sisters,â and âThe Cherry Orchard.â
So what makes these plays so indelible?
Well, even though Chekhovâs plays are full of incidents
âlike murders and attempted murders and suicides and attempted suicides and
who is going to pay the mortgage!?â theyâre some of the first plays to feel like life.
Because hereâs the thing: Chekhov knew that life doesnât include a lot Â
of climaxes or cliffhangers or neat speeches that explain everything.
Most of the time, itâs just about playing cards or Â
going for a walk or having a late-night vodka sesh.
He wrote - âIn life, people do not shoot themselves, or hang themselves, Â
or fall in love, or deliver themselves of clever sayings every minute.
They spend most of their time eating, drinking, running after women, or men, or talking nonsense.
It is, therefore, necessary that this should be shown on the stageâŠ
Life on the stage should be as it really is, and the people, too, should be as they are.â
This doesnât mean that nothing happens in Chekhovâs plays,Â
or that what happens doesnât matter.
Plenty happens.
And it does matter!
But Chekhov was also comfortable writing scenes that are less eventful.
And itâs those scenes that have the texture of life.
He also meant many of these scenes to be funny and often fought with his serious-minded directorsÂ
to make them funnier.
He was a master of subtext, a kind of misdirection in which characters canât or wonât say
what they really mean, but the meaning emerges, anyway, around and under and between the lines.
Letâs take a closer look at Chekhovian realism through his last play, âThe Cherry Orchard.â
Help us out, Thought Bubble:
Lyuba Ranevskaya has returned home from some years in Paris with a lover.
She learns her home, where her son drowned, will be sold at auction.
Her neighbor Lopakhin, a former serf, encourages her to chop down the orchard
and divide the estate into parcels for middle-class people to build summer homes.
Lyuba wonât listen.
She sees Trofimov, her sonâs former tutor, who is now a scruffy student.
She weeps.
Lyuba is out for a walk with her brother, Gayev,Â
her daughter, Anya, and her adopted daughter, Varya,
as well as Lopakhin and Trofimov.
A homeless man stumbles in, and Lyuba gives him all her money
even though Varya says thereâs barely enough to feed the servants.
Anya is impressed by Trofimovâs revolutionary talk of a new world and a new life.
She sneaks down to the river with him.
Lyuba is giving a ball.
It is auction day for the orchard, and the family hopes that a rich aunt will rescue them.
The guests drink, dance and squabble Â
until Lopakhin comes in and announces the orchard is his.
âI've bought the estate where my grandfather and my father were slaves,â he says.
âWhere they weren't even allowed into the kitchen.
I'm asleep, itâs only a dream, an illusion.â
Finally - itâs time for the family to leave.
Lyuba urges Lopakhin to propose to Varya.
Lopakhin promises he will, but he canât bring himself to do it.
Instead, he moos at her, and she throws some shoes.
The family departs for the train station, Â
not realizing theyâve left behind the old servant, Firs.
Forgotten Firs lays down to die.
And offstage, the axes bite into the orchardâs trees.
Timber, Thought Bubble.
We can see Chekhovâs prevalent themes and style, particularly his idea that
âPeople are sitting at a table having dinner, that's all,Â
but at the same time, their happiness is being created, or their lives are being torn apart.â
So I guess⊠thatâs not all.
Thatâs what the ball scene is about.
Another playwright would have staged the auction, Â
but Chekhov fills the act with idle conversation instead.
And the mooing scene with Lopakhin and Varya is a beautiful example of the power of subtext.
If âThe Cherry Orchardâ is a realistic drama, it also suggests a move toward symbolism,
as do the late plays of Ibsen and Strindberg.
The orchard obviously represents more than just the orchard: itâs a symbol of an old order.
And at several points in the play, a mysterious sound is heard, Â
âthe sound of a breaking string, dying away, sad.â
Maybe Chekhov would have moved in a more symbolist or expressionist direction if heâd lived longer.
But he didnât.
In 1904, a few months after the premiere of âThe Cherry Orchard,â he traveled with his new wife, Â
the actress Olga Knipper, to recuperate at a spa town.
He became very ill and, after drinking a glass Â
of champagne as ordered by a doctor, he lay down and died.
His body was returned to Moscow in a refrigerated car used to transport oysters.
Chekhov will always be associated with the theater that made him famous, the Moscow Art Theater.
Theater monopolies had dissolved in 1882, and a lot of new theaters had sprung up to Â
serve a growing urban population, but they staged mostly melodramas.
But Nemirovich-Danchenkoâwho weâve mentionedâÂ
and his partner, famed theater director Konstantin Stanislavski,Â
wanted a theater devoted to realism and naturalism.
Stanislavski had been influenced by a visit from the Meiningen troupe,
but was less interested in period-appropriate costumes,Â
props and occasional mumbling realism...
and more interested in psychological realismÂ
âacting and staging that would make characters look real, sound real, and feel real.
The two men founded the Moscow Art Theater in 1898.
Their first play was Aleksey Tolstoyâs âTsar Fyodor.â and later that year, Â
they revived Chekhovâs âSeagull.â
The play was such a hit, that the theater adopted a seagull as its emblem.
They began with a group of amateur actors, aiming to create a troupe of colleagues,
rather than stars and supporting players,
and Stanislavski developed a hugely influential system to train those amateurs.
The theater survived the Russian revolution and,Â
though it underwent several transformations and a split,
it outlasted the Soviet era, too.
If youâve studied acting in the West, Â
then youâve probably experienced some version of Stanislavskiâs system.
But hereâs the thing: We donât really know what that âsystemâ is!
Stanislavski was always changing it!
In addition to Stanislavskiâs autobiography, we have three booksâ
âAn Actor Prepares,â âBuilding a Character,â and âCreating a Roleâ
âall translated into English by Elizabeth Hapgood.
But it turns out that Hapgood mistranslated a lot of stuff.
As for the Russian originals, the Soviets made their own edits.
And the aspect of the system thatâs most famous in Americaâ
the part where actors are supposed to rely on their personal memories
âStanislavski later discounted.
But there are a few parts that we can pretty much agree on:
An actorâs body and voice should be thoroughly trained.
And an actor should have a thorough knowledge of other Â
stage techniquesâcombat, dancing, all that stuff.
Actors should observe how people behave in real life.
Before rehearsals begin, the cast will study the play,
investigating its themes and the motivations and the emotional arc of each character,
and deciding on each characterâs primary objective and emotional throughline.
In order to make characters feel psychologically real,
actors will familiarize themselves with a characterâs âgiven circumstancesâ
and ask how a person would behave within those circumstances.
This is called âthe magic âifâ.â
At one point, Stanislavski did suggest that actors should work Â
with their own âemotion memoryâ to inhabit a role,
but he later moved away from this
and encouraged more expressive physical explorations and improvisations.
Onstage, actors should try to live in the moment,Â
reacting with some emotional spontaneity and giving the âillusion of the first time.â
And, finally, actors must always keep working toward greater proficiency and skill.
The Stanislavski Systemâor the less than 100%Â Â
faithful version of it that we have todayâdominates Western theater.
Film and television, too.
Every single one of my friends who studied acting in college took a Stanislavski class.
Of course, there are types of plays that donât support a realistic acting approach.
Weâre gonna look at those, starting with one of the weirdest, bloodiest, Â
and most niche forms of theater ever produced.
Thatâs right,, itâs the Grand Guignol.
Thanks.
Thanks for watching.
Or is that what I really mean?
[Mike to Yorick] Subtext, Yorick.
Subtext?
Also, curtain.
Crash Course Theater is produced in association with PBS Digital Studios.
Head over to their channel to check out some of their shows like Origin of Everything.
Origin of Everything, hosted by Danielle Bainbridge, Ph.D.,
explores the history behind stuff in our everyday life,Â
from the words we use, the pop culture we love,
the technology that gets us through the day, or the identities we give ourselves.
Crash Course Theater is filmed in Indianapolis, Indiana,
and is produced with the help of all of these very nice people.
Our animation team is Thought Cafe.
Crash Course exists thanks to the generous support of our patrons at Patreon.
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