Chekhov and the Moscow Art Theater: Crash Course Theater #34

Summary

Crash 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

• 🎭 Anton Chekhov is celebrated as Russia's greatest playwright and a significant figure in the early years of Russian modernism.
• 🍾 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.
• 🏛 Early Russian drama was influenced by European styles, including mystery plays and neoclassical works, with a unique twist of anti-Napoleon themes.
• 👑 Empress Catherine the Great played a role in the development of Russian theater by allowing the first professional theater and even writing plays herself.
• 📚 Russian romantic theater was marked by the works of Alexander Pushkin and Mikhail Lermontov, but was hindered by censorship.
• 🏰 Realism in Russian theater arrived early, with notable works by Ivan Turgenev and Alexander Ostrovsky, despite the state-controlled and censorship-heavy environment.
• 👨‍⚕️ Anton Chekhov was a trained doctor who became a renowned playwright, often incorporating elements of his medical knowledge into his literature.
• 📖 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.
• 🌳 '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.
• 🎨 The Moscow Art Theater, founded by Vladimir Nemirovich-Danchenko and Konstantin Stanislavski, was pivotal in promoting psychological realism in acting and staging.
• 🤹‍♂️ 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

00:00

🎭 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.

05:02

🌳 '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.

10:05

🎨 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.

Keywords

💡Anton Chekhov

Anton Chekhov is a renowned Russian playwright and short-story writer known for his significant contributions to world literature. His works are characterized by a unique blend of realism and subtlety in exploring human emotions and societal issues. In the video, Chekhov is highlighted as Russia's greatest playwright, with his plays being some of the first to capture the essence of life in a realistic manner, devoid of exaggerated climaxes and neatly tied narratives.

💡Moscow Art Theater

The Moscow Art Theater was established in 1898 by Vladimir Nemirovich-Danchenko and Konstantin Stanislavski, aiming to promote realism and naturalism in theater. It is closely associated with Chekhov's success, as it was here that his play 'The Seagull' was revived after its initial failure, and his subsequent plays were produced. The theater became a symbol of innovative acting techniques and is still influential in modern acting pedagogy.

💡Russian modernism

Russian modernism refers to the cultural and artistic movement in Russia during the late 19th and early 20th centuries that sought to break away from traditional forms and embrace new ideas and styles. In the context of the video, it is the backdrop against which Chekhov's work emerged, reflecting a shift from romanticism and realism towards a more nuanced and psychologically complex portrayal of characters and themes.

💡Realism in theater

Realism in theater is an approach that strives to depict life on stage as it is in reality, with an emphasis on truthful representation of characters, settings, and situations. The video discusses how Chekhov's plays exemplify this by avoiding melodrama and instead focusing on the mundane aspects of life that are often overlooked in traditional theater, thus creating a more authentic and relatable experience for the audience.

💡Subtext

Subtext refers to the underlying meaning or implications in a conversation or narrative that are not explicitly stated but are understood through the context or the characters' actions. In Chekhov's plays, as mentioned in the video, subtext is a powerful tool that allows characters to convey their true feelings and intentions indirectly, adding depth and complexity to the dialogue.

💡The Seagull

'The Seagull' is one of Chekhov's most famous plays, initially a failure but later successfully revived by the Moscow Art Theater. The video script highlights its significance as Chekhov's first major dramatic work and a turning point in his career, showcasing his unique approach to drama that feels more like life than a staged production.

💡Stanislavski's system

Stanislavski's system, developed by Konstantin Stanislavski, is a method of actor training that emphasizes psychological realism and emotional authenticity. The video explains that while the exact details of the system are debated, it generally involves thorough training of the actor's body and voice, understanding of the character's motivations, and the use of 'the magic 'if' to explore given circumstances. This system has had a profound impact on Western theater and acting techniques.

💡Symbolism in theater

Symbolism in theater involves the use of objects, characters, or events to represent abstract ideas or concepts. In the context of Chekhov's 'The Cherry Orchard,' the orchard itself is a symbol of the old order, and the play hints at a move towards symbolism, suggesting a deeper meaning beyond the literal events occurring on stage.

💡Neoclassical plays

Neoclassical plays are theatrical works that adhere to the principles of neoclassicism, characterized by order, symmetry, and adherence to classical models. The video mentions that early Russian drama included neoclassical plays, with a unique twist of anti-Napoleon themes, reflecting the cultural and political sentiments of the time.

💡Censorship

Censorship refers to the practice of suppressing or modifying information, especially artistic or literary works, that are considered politically or morally unacceptable. In the video, it is mentioned that Russian romantic theater faced censorship, which delayed the production of significant plays by authors like Nikolai Gogol and Leo Tolstoy.

💡The Cherry Orchard

'The Cherry Orchard' is the last play written by Anton Chekhov and is used in the video as an example of Chekhovian realism and the use of subtext. The play's narrative, involving the sale of an estate and the changing social order, is a poignant reflection on the passage of time and the inevitable shift from tradition to modernity.

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! I’m 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 we’re exploring Anton Chekhov,  

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,  

Germany, or Italy.

There were mystery plays and  folk comedies that eventually  

gave way to neoclassical scholastic plays.

Although in Russia, a bunch  of the neoclassical plays 

were specifically anti-Napoleon dramas, so that’s a new twist, I guess.

Empress Catherine the Great allowed 

the first professional theater to open in St. Petersburg in the mid-1700s.

She even wrote a bunch of not-so-great comedies 

and her own version of “The  Merry Wives of Windsor,”

where all the characters got Russian names.

She described her own work as  a “free but feeble adaptation”.

Russia’s dramatic literary tradition didn’t  really start until romanticism took over,

led by Alexander Pushkin and Mikhail Lermontov —though their works went unproduced for years. 

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.

It’s the only not very thick  Russian book that has ever existed.

But fun fact: For a country so  state-controlled and censorship-heavy,  

realism came to Russia pretty early.

Examples include Ivan Turgenev’s melancholy  1850s comedy “A Month in the Country,”

about affairs on a rural estate, and Alexander  Ostrovsky’s middle-class comedies and dramas.

A.F. Pisemsky’s “A Bitter Fate” even followed  

Zola’s naturalistic precepts a  decade before Zola wrote them.

Nikolai Gogol and Leo Tolstoy  wrote more controversial plays:  

Gogol’s was a farcical look  at provincial corruption,  

“The Government Inspector,” and  Tolstoy’s a baby-murdering classic,

“The Power of Darkness,” 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,  

Russia’s 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,  

he devoted himself to literature,  mostly as a short story writer at first.

Just as he finished medical  school, he developed tuberculosis,  

but he was financially responsible  for his family, so he ... ignored it.

A few years later, he wrote his  first produced play, “Ivanov.”

But even though it was a hit, Chekhov  considered it a disappointment.

In 1895, he wrote his first major  dramatic work, “The Seagull.”

It was produced the next year and it flopped. Hard.

The actors didn’t know their lines,  the audience booed like crazy.

Chekhov ran out of the theater in the middle of  

the second act and said that he  would never write another play.

But… a writer and theater director  named Vladimir Nemirovich-Danchenko  

loved the play and remounted it at  the newly founded Moscow Art Theater.

Chekhov then wrote three more major works, 

“Uncle Vanya,” “The Three  Sisters,” and “The Cherry Orchard.”

So what makes these plays so indelible?

Well, even though Chekhov’s  plays are full of incidents

—like murders and attempted murders and suicides and attempted suicides and

who is going to pay the mortgage!?— they’re some of the first plays to feel like life.

Because here’s the thing: Chekhov  knew that life doesn’t include a lot  

of climaxes or cliffhangers or neat  speeches that explain everything.

Most of the time, it’s just about playing cards or  

going for a walk or having  a late-night vodka sesh.

He wrote - “In life, people do not  shoot themselves, or hang themselves,  

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 stage…

Life on the stage should be as it really is,  and the people, too, should be as they are.”

This doesn’t mean that nothing  happens in Chekhov’s plays, 

or that what happens doesn’t matter.

Plenty happens.

And it does matter!

But Chekhov was also comfortable  writing scenes that are less eventful.

And it’s 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 directors 

to make them funnier.

He was a master of subtext, a kind of misdirection  in which characters can’t or won’t say

what they really mean, but the meaning emerges,  anyway, around and under and between the lines.

Let’s take a closer look at Chekhovian realism through his last play, “The Cherry Orchard.”

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 won’t listen.

She sees Trofimov, her son’s former tutor, who is now a scruffy student.

She weeps.

Lyuba is out for a walk with her brother, Gayev, 

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 there’s  barely enough to feed the servants.

Anya is impressed by Trofimov’s 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  

until Lopakhin comes in and  announces the orchard is his.

“I've bought the estate where my grandfather  and my father were slaves,” he says.

“Where they weren't even allowed into the kitchen.

I'm asleep, it’s only a dream, an illusion.”

Finally - it’s time for the family to leave.

Lyuba urges Lopakhin to propose to Varya.

Lopakhin promises he will, but  he can’t bring himself to do it.

Instead, he moos at her,  and she throws some shoes.

The family departs for the train station,  

not realizing they’ve left  behind the old servant, Firs.

Forgotten Firs lays down to die.

And offstage, the axes bite  into the orchard’s trees.

Timber, Thought Bubble.

We can see Chekhov’s prevalent themes and style, particularly his idea that

“People are sitting at a table  having dinner, that's all, 

but at the same time, their happiness is being  created, or their lives are being torn apart.”

So I guess… that’s not all.

That’s what the ball scene is about.

Another playwright would have staged the auction,  

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 “The Cherry Orchard” 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: it’s a symbol of an old order.

And at several points in the  play, a mysterious sound is heard,  

“the sound of a breaking string, dying away, sad.”

Maybe Chekhov would have moved in a more symbolist  or expressionist direction if he’d lived longer.

But he didn’t.

In 1904, a few months after the premiere of “The  Cherry Orchard,” he traveled with his new wife,  

the actress Olga Knipper,  to recuperate at a spa town.

He became very ill and, after drinking a glass  

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  

serve a growing urban population,  but they staged mostly melodramas.

But Nemirovich-Danchenko–who we’ve mentioned– 

and his partner, famed theater  director Konstantin Stanislavski, 

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, 

props and occasional mumbling realism...

and more interested in psychological realism 

—acting 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 Tolstoy’s  “Tsar Fyodor.” and later that year,  

they revived Chekhov’s “Seagull.”

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, 

though it underwent several  transformations and a split,

it outlasted the Soviet era, too.

If you’ve studied acting in the West,  

then you’ve probably experienced some  version of Stanislavski’s system.

But here’s the thing: We don’t  really know what that “system” is!

Stanislavski was always changing it!

In addition to Stanislavski’s  autobiography, we have three books—

“An Actor Prepares,” “Building a  Character,” and “Creating a Role”

—all 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  that’s most famous in America—

the part where actors are supposed  to rely on their personal memories

—Stanislavski later discounted.

But there are a few parts that  we can pretty much agree on:

An actor’s body and voice  should be thoroughly trained.

And an actor should have a  thorough knowledge of other  

stage techniques—combat, 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 character’s primary  objective and emotional throughline.

In order to make characters  feel psychologically real,

actors will familiarize themselves with  a character’s “given circumstances”

and ask how a person would behave  within those circumstances.

This is called “the magic ‘if’.”

At one point, Stanislavski did  suggest that actors should work  

with their own “emotion memory” 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, 

reacting with some emotional spontaneity  and giving the “illusion of the first time.”

And, finally, actors must always keep  working toward greater proficiency and skill.

The Stanislavski System—or the less than 100%  

faithful version of it that we have  today—dominates 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  don’t support a realistic acting approach.

We’re gonna look at those, starting  with one of the weirdest, bloodiest,  

and most niche forms of theater ever produced.

That’s right,, it’s 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, 

from the words we use, the pop culture we love,

the technology that gets us through the day, or the identities we give ourselves.

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and is produced with the help of  all of these very nice people.

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