Who are the main characters of the cherry orchard. The Cherry Orchard

Konstantin Stanislavsky as Gaev. Production of The Cherry Orchard at the Moscow Art Theatre. 1904

Leonid Leonidov as Lopakhin. Production of The Cherry Orchard at the Moscow Art Theatre. 1904© Album "Plays by A.P. Chekhov". Supplement to the magazine "The Sun of Russia", No. 7, 1914

Alexander Artyom as Firs. Production of The Cherry Orchard at the Moscow Art Theatre. 1904© Album "Plays by A.P. Chekhov". Supplement to the magazine "The Sun of Russia", No. 7, 1914

Vasily Kachalov as Petya Trofimov and Maria Lilina as Anya. Production of The Cherry Orchard at the Moscow Art Theatre, act II. 1904 © Album "Plays by A.P. Chekhov". Supplement to the magazine "The Sun of Russia", No. 7, 1914

Firs: "Let's go... They forgot about me." Production of The Cherry Orchard at the Moscow Art Theatre, act IV. 1904© Album "Plays by A.P. Chekhov". Supplement to the magazine "The Sun of Russia", No. 7, 1914

Cotillion. Production of The Cherry Orchard at the Moscow Art Theatre, act III. 1904© Album "Plays by A.P. Chekhov". Supplement to the magazine "The Sun of Russia", No. 7, 1914

In this very first production of The Cherry Orchard, Chekhov did not like much. The author's disagreements with Konstantin Stanislavsky, who staged a play written especially for the Moscow Art Theater, concerned the distribution of roles between the performers, mood and genre (Stanislavsky was convinced that he was staging a tragedy), even staged means that reflected the naturalistic aesthetics of the early Moscow Art Theater. “I will write a new play, and it will begin like this: “How wonderful, how quiet! No birds, no dogs, no cuckoos, no owls, no nightingales, no clocks, no bells, and not a single cricket are heard,” Stanislavsky quoted Chekhov’s sarcastic joke about the sound score recreating the estate life. Today, not a single Chekhov biography or history of the Moscow Art Theater bypasses this conflict between the writer and the theater. But the oppressive atmosphere, streams of tears, and everything that frightened Chekhov is at odds with those few surviving fragments of later versions of The Cherry Orchard, a performance that remained in the theater repertoire until the second half of the 1930s and was constantly changing, including thanks to Stanislavsky. For example, with the short final scene with Firs recorded on film: the voice of the lackey performed by Mikhail Tarkhanov sounds in it - despite the situation of the servant forgotten in the house, how hard every movement is given to this decrepit old man, contrary to everything in general - suddenly unusually young. Just sobbing, Ranevskaya said goodbye to her youth on stage, and miraculously she returned to Firs in these very last minutes.

1954 Renault-Barro Company, Paris. Directed by Jean Louis Barraud

A scene from Jean Louis Barrault's The Cherry Orchard. Paris, 1954© Manuel Litran / Paris Match Archive / Getty Images

A scene from Jean Louis Barrault's The Cherry Orchard. Paris, 1954© Manuel Litran / Paris Match Archive / Getty Images

A scene from Jean Louis Barrault's The Cherry Orchard. Paris, 1954© Manuel Litran / Paris Match Archive / Getty Images

Prominent European productions of The Cherry Orchard only began to appear after the war. Theater historians explain this by the extremely strong impression Western directors had of the performance of the Moscow Art Theater, which took Chekhov's play on tour more than once. The Cherry Orchard, staged by Jean Louis Barrault, did not become a breakthrough, but it is a very interesting example of how the European theater, in search of its own Chekhov, slowly emerged from the influence of the Moscow Art Theatre. From the director Barro, who during these years discovered Camus and Kafka for himself and the audience of his theater, and continued to stage his main author, Claudel, one could expect to read Chekhov through the prism of the newest theater. But there is nothing of this in Barro's The Cherry Orchard: listening to the surviving recording of his radio broadcast, you remember about absurdism only when Gaev, in response to Lopakhin's business proposal about arranging dachas on the site of the estate, is indignant: “Absurde!” The Cherry Orchard staged by Renault-Barro Company is first of all (and strictly according to Chekhov) a comedy in which a huge place was given to music. Pierre Boulez, with whom the theater collaborated during these years, was responsible for her in the performance. The role of Ranevskaya was played by Barrot's wife, co-founder of the theater, who earned fame for herself precisely as a comic actress of the Comédie Francaise, Madeleine Renaud. And Barro himself unexpectedly chose the role of Petya Trofimov for himself: perhaps the hero was close to the great mime, who guessed the character of the merchant Lopakhin by his hands - “tender fingers, like those of an artist.”

1974 Teatro Piccolo, Milan. Directed by Giorgio Strehler

Rehearsal of the play "The Cherry Orchard" by Giorgio Strehler. Milan, 1974© Mondadori Portfolio / Getty Images

Tino Carraro in Giorgio Strehler's The Cherry Orchard

Tino Carraro and Enzo Tarascio in Giorgio Strehler's The Cherry Orchard© Mario De Biasi / Mondadori Portfolio / Getty Images

“Craig wants the set to be as mobile as music, and to help refine certain passages in a play, just as music can follow and emphasize turns in an action. He wants the scenery to change with the play,” the artist René Pio wrote in 1910 after meeting with the English director and set designer Gordon Craig. Luciano Damiani's set design in The Cherry Orchard directed by Giorgio Strehler, thanks to its amazing simplicity, has become perhaps the best example of this way of working with space in the modern theater. Over the snow-white stage was stretched a wide, in the entire depth of the stage, a translucent curtain, which at different moments calmly swayed over the heroes, then dangerously low fell over them, then sprinkled them with dry leaves. The scenery turned into a partner for the actors, and they themselves were reflected in their own way in very few objects on the stage, like children's toys taken from a hundred-year-old cupboard. Ranevskaya's plastic score, played by Strehler's actress Valentina Cortese, was based on rotation, and Gaev's top, launched by Gaev, rhymed with this movement, rotating for a minute and then somehow suddenly flying off its axis.

1981 Bouffe du Nord Theatre, Paris. Directed by Peter Brook

The Cherry Orchard by Peter Brook at the Bouffe du Nord Theatre. 1981© Nicolas Treatt / archivesnicolastreatt.net

In his lectures on the history of literature, Naum Berkovsky called the subtext the language of enemies, and associated its appearance in the drama with the changing relationships of people in the early 19th century. In The Cherry Orchard by Peter Brook, the characters have no enemies among each other. The director did not have them in the play either. And the subtext in Chekhov's work suddenly radically changed its quality, ceased to be a method of concealment, but, on the contrary, turned into a means of revealing to each other what cannot be conveyed with the help of words. Performed with little or no set (the walls and floor of the old Bouffe du Nord theater in Paris were covered with carpets), this performance was closely associated with post-war literature: “Chekhov writes extremely concisely, using a minimum of words, and his writing style is reminiscent of Pinter or Beckett Brook said in an interview. “For Chekhov, like for them, composition, rhythm, purely theatrical poetry of the only exact word, pronounced then and in the right way, plays a role.” Among the innumerable interpretations of The Cherry Orchard as a drama of the absurd that have arisen to this day, perhaps the most unusual thing about Brook's performance was precisely that, read through Beckett and Pinter, his Chekhov sounded in a new way, but remained himself.

2003 K. S. Stanislavsky International Foundation and Meno Fortas Theatre, Vilnius. Directed by Eymuntas Nyakroshus

The play "The Cherry Orchard" by Eymuntas Nyakroshyus. Golden Mask Festival. Moscow, 2004

Yevgeny Mironov as Lopakhin in the play "The Cherry Orchard" by Eymuntas Nyakroshyus. Golden Mask Festival. Moscow, 2004 © Dmitry Korobeinikov / RIA Novosti

The first thing that the audience saw on the stage was the clothes of the inhabitants of the house thrown at each other, low columns standing behind, two hoops coming from nowhere: it seemed to be a manor, but as if reassembled from almost random objects. In this "Cherry Orchard" there were references to Strehler, but there was no trace of the poetry of the Italian Chekhov performance. However, Nyakroshyus's performance itself was built rather according to the laws of a poetic text. The six hours that he walked, the connections between things, gestures (as always with Nyakroshus, an unusually rich plastic score), sounds (like the unbearably loud cry of swallows) and music, unexpected animal parallels of the characters - these connections multiplied at an extraordinary speed, penetrating all levels . “A gloomy and magnificent bulk,” wrote theater critic Pavel Markov about Meyerhold’s The Inspector General, and this was the impression of the Lithuanian director’s performance, staged together with Moscow artists on the centenary of Chekhov’s
plays.

The origins of the work

Very often the question arises, what is supposed to be in the history of the creation of Chekhov's "Cherry Orchard"? In order to understand this, it is necessary to remember at the turn of which eras Anton Pavlovich worked. He was born in the 19th century, society was changing, people and their worldview were changing, Russia was moving towards a new system, which developed rapidly after the abolition of serfdom. The history of the creation of the play "The Cherry Orchard" by A.P. Chekhov - the final work of his work - begins, perhaps, with the very departure of young Anton to Moscow in 1879.

From an early age, Anton Chekhov was fond of dramaturgy and, being a student of the gymnasium, tried to write in this genre, but these first attempts at writing became known after the death of the writer. One of the plays is called "Fatherlessness", written around 1878. A very voluminous work, it was staged on the stage of the theater only in 1957. The volume of the play did not correspond to Chekhov's style, where "brevity is the sister of talent", but those touches that changed the entire Russian theater are already visible.

Anton Pavlovich's father had a small shop, located on the first floor of the Chekhovs' house, the family lived on the second. However, since 1894, things in the store went from bad to worse, and in 1897 the father went bankrupt completely, the whole family was forced, after the sale of property, to move to Moscow, in which the older children had already settled by that time. Therefore, from an early age, Anton Chekhov learned what it was like when you have to part with the most precious thing - your home to pay off your debts. Already at a more mature age, Chekhov repeatedly encountered cases of the sale of noble estates at auctions to "new people", and in modern terms - to businessmen.

Originality and timeliness

The creative history of The Cherry Orchard begins in 1901, when Chekhov, for the first time in a letter to his wife, announced that he had conceived a new play, unlike those that he had written before. From the very beginning, he conceived it as a kind of comedic farce, in which everything would be very frivolous, fun and carefree. The plot of the play was the sale of an old landowner's estate for debts. Chekhov had already tried to reveal this topic earlier in "Fatherlessness", but it took him 170 pages of handwritten text, and a play of such a volume could not fit into the framework of one performance. Yes, and Anton Pavlovich did not like to remember his early offspring. Having honed the skill of the playwright to perfection, he again took up her.

The situation of the sale of the house was close and familiar to Chekhov, and after the sale of his father's house in Taganrog, he was interested and excited by the psychic tragedy of such cases. Thus, his own painful impressions and the story of his friend A.S. Kiselev became the basis of the play. Also before the eyes of the writer passed many abandoned noble estates in the Kharkov province, where he rested. The action of the play takes place, by the way, in those parts. Anton Pavlovich observed the same deplorable state of the estates and the situation of their owners on his estate in Melikhovo, and as a guest in the estate of K.S. Stanislavsky. He observed what was happening and comprehended what was happening for more than 10 years.

The process of impoverishment of the nobles lasted a long time, they simply lived out their fortunes, wasting them unwisely and not thinking about the consequences. The image of Ranevskaya has become collective, depicting proud, noble people who have difficulty adapting to modern life, from which the right to own a human resource in the form of serfs working for the well-being of their masters has disappeared.

A play born in pain

About three years passed from the beginning of work on the play to its production. This was due to a number of reasons. One of the main ones is the author's poor health, and even in letters to friends he complained that the work was progressing very slowly, sometimes it turned out to write no more than four lines a day. However, despite feeling unwell, he tried to write a work that was light in genre.

The second reason can be called Chekhov's desire to fit into his play, intended for staging on the stage, the whole result of thoughts about the fate of not only ruined landowners, but also about such people typical of that era as Lopakhin, the eternal student Trofimov, in whom one feels a revolutionary-minded intellectual . Even the work on the image of Yasha required enormous efforts, because it was through him that Chekhov showed how the historical memory of his roots is being erased, how society and the attitude towards the Motherland as a whole are changing.

The work on the characters was very meticulous. It was important for Chekhov that the actors could fully convey the idea of ​​the play to the audience. In letters, he described in detail the characters of the characters, gave detailed comments on each scene. And he emphasized that his play is not a drama, but a comedy. However, V.I. Nemirovich-Danchenko and K.S. Stanislavsky did not manage to consider anything comedic in the play, which greatly upset the author. The production of The Cherry Orchard was difficult for both the stage directors and the playwright. After the premiere, which took place on January 17, 1904, on Chekhov's birthday, disputes broke out between critics, but no one remained indifferent to her.

Artistic methods and style

On the one hand, the history of writing Chekhov's comedy "The Cherry Orchard" is not so long, and on the other hand, Anton Pavlovich went to her all his creative life. Images have been collected for decades, artistic techniques that show everyday life without pathos on stage have also been honed for more than one year. "The Cherry Orchard" became another cornerstone in the annals of the new theater, which began largely thanks to Chekhov's talent as a playwright.

From the moment of the first production to the present day, the directors of this performance do not have a common opinion on the genre of this play. Someone sees a deep tragedy in what is happening, calling it a drama, some perceive the play as a tragicomedy or tragedy. But everyone is unanimous in the opinion that The Cherry Orchard has long become a classic not only in Russian, but also in the global dramaturgy.

A brief description of the history of the creation and writing of the famous play will help grade 10 students prepare a summary and lessons while studying this wonderful comedy.

Artwork test

A.P. Chekhov wrote his famous play "The Cherry Orchard" in 1903. In this play, the central place is occupied not so much by the personal experiences of the characters as by an allegorical vision of the fate of Russia. Some characters personify the past (Ranevskaya, Gaev, Firs, Varya), others - the future (Lopakhin, Trofimov, Anya). The heroes of Chekhov's play "The Cherry Orchard" serve as a reflection of the society of that time.

Main characters

The heroes of Chekhov's "The Cherry Orchard" are lyrical characters with special features. For example, Epikhodov, who was constantly unlucky, or Trofimov, the "eternal student." Below will be presented all the heroes of the play "The Cherry Orchard":

• Ranevskaya Lyubov Andreevna, mistress of the estate.
• Anya, her daughter, 17 years old. Not indifferent to Trofimov.
• Varya, her adopted daughter, 24 years old. In love with Lopakhin.
• Gaev Leonid Andreevich, brother of Ranevskaya.
• Lopakhin Ermolai Alekseevich, a native of peasants, now a merchant. He likes Varya.
• Trofimov Pyotr Sergeevich, eternal student. Sympathizes with Anya, but he is above love.
• Simeonov-Pishchik Boris Borisovich, a landowner who constantly has no money, but he believes in the possibility of unexpected enrichment.
• Charlotte Ivanovna, the maid, loves to perform tricks.
• Epikhodov Semyon Panteleevich, clerk, unlucky person. Wants to marry Dunyasha.
• Dunyasha, the maid, considers herself like a lady. In love with Yasha.
• Firs, an old footman, constantly takes care of Gaev.
• Yasha, Ranevskaya's spoiled lackey.

The characters of the play

A.P. Chekhov always very accurately and subtly noticed in each character his features, whether it be appearance or character. This Chekhovian feature is also supported by the play "The Cherry Orchard" - the images of the characters here are lyrical and even a little touching. Each has its own unique features. Characteristics of the heroes of "The Cherry Orchard" can be divided into groups for convenience.

old generation

Ranevskaya Lyubov Andreevna appears as a very frivolous, but kind woman who cannot fully understand that all her money has run out. She's in love with some scoundrel who left her penniless. And then Ranevskaya returns with Anya to Russia. They can be compared with people who left Russia: no matter how good it is abroad, they still continue to yearn for their homeland. The image chosen by Chekhov for his homeland will be written below.

Ranevskaya and Gaev are the personification of the nobility, the wealth of past years, which at the time of the author began to decline. Both brother and sister may not be fully aware of this, but nevertheless they feel that something is happening. And by the way they begin to act, one can see the reaction of Chekhov's contemporaries - it was either a move abroad, or an attempt to adapt to new conditions.

Firs is the image of a servant who was always faithful to her masters and did not want any change in order, because they did not need it. If with the first main characters of The Cherry Orchard it is clear why they are considered in this group, then why can Varya be included here?

Because Varya occupies a passive position: she humbly accepts the emerging position, but her dream is the opportunity to go to holy places, and strong faith was characteristic of people of the older generation. And Varya, despite his seemingly stormy activity, does not take an active part in conversations about the fate of the cherry orchard and does not offer any solutions, which shows the passivity of the rich class of that time.

Younger generation

Here the representatives of the future of Russia will be considered - these are educated young people who put themselves above any feelings, which was fashionable in the early 1900s. At that time, public duty and the desire to develop science were put in the first place. But one should not assume that Anton Pavlovich portrayed revolutionary-minded youth - it is rather an image of most of the intelligentsia of that time, which was engaged only in talking on high topics, putting itself above human needs, but was not adapted to anything.

All this was embodied in Trofimov - "an eternal student" and "a shabby gentleman", who could not finish anything, had no profession. Throughout the play, he only talked about various matters and despised Lopakhin and Varia, who was able to admit the thought of his possible romance with Anya - he is "above love."

Anya is a kind, sweet, still quite inexperienced girl who admires Trofimov and listens carefully to everything he says. She personifies the youth, who have always been interested in the ideas of the intelligentsia.

But one of the most striking and characteristic images of that era turned out to be Lopakhin - a native of peasants who managed to make a fortune for himself. But, despite the wealth, remained essentially a simple man. This is an active person, a representative of the so-called class of "kulaks" - wealthy peasants. Yermolai Alekseevich respected work, and work was always in the first place for him, so he kept postponing the explanation with Varya.

It was during that period that the hero of Lopakhin could have appeared - then this "risen" peasantry, proud of the realization that they were no longer slaves, showed a higher adaptability to life than the nobles, which is proved by the fact that it was Lopakhin who bought Ranevskaya's estate.

Why was the characterization of the heroes of "The Cherry Orchard" chosen specifically for these characters? Because it is on the characteristics of the characters that their internal conflicts will be built.

Internal conflicts in the play

The play shows not only the personal experiences of the heroes, but also the confrontation between them, which makes it possible to make the images of the heroes of "The Cherry Orchard" brighter and deeper. Let's consider them in more detail.

Ranevskaya - Lopakhin

The main conflict is in the pair Ranevskaya - Lopakhin. And it is due to several reasons:

• belonging to different generations;
• opposition of characters.

Lopakhin is trying to help Ranevskaya save the estate by cutting down a cherry orchard and building dachas in its place. But for Raevskaya, this is impossible - after all, she grew up in this house, and "dachas - it's so common." And in the fact that it was Ermolai Alekseevich who bought the estate, she sees in this a betrayal on his part. For him, buying a cherry orchard is a solution to his personal conflict: he, a simple man whose ancestors could not go beyond the kitchen, has now become the owner. And therein lies its main triumph.

Lopakhin - Trofimov

The conflict in a pair of these people is due to the fact that they have opposing views. Trofimov considers Lopakhin an ordinary peasant, rude, limited, who is not interested in anything but work. The same one believes that Pyotr Sergeevich is simply wasting his mental abilities, does not understand how one can live without money, and does not accept the ideology that a person is above everything earthly.

Trofimov - Varya

The confrontation is built, most likely, on personal rejection. Varya despises Peter because he is not busy with anything, and fears that with the help of his smart speeches, Anya will fall in love with him. Therefore, Varya tries in every possible way to prevent them. Trofimov, on the other hand, teases the girl "Madame Lopakhina", knowing that everyone has been waiting for this event for a long time. But he despises her because she equated him and Anya with herself and Lopakhin, because they are above all earthly passions.

So, the above was briefly written about the characters of the heroes of "The Cherry Orchard" by Chekhov. We have described only the most significant characters. Now we can move on to the most interesting - the image of the protagonist of the play.

The protagonist of The Cherry Orchard

The attentive reader has already guessed (or guesses) that this is a cherry orchard. In the play, he personifies Russia itself: its past, present and future. Why is the garden itself the main character of The Cherry Orchard?

Because it is to this estate that Ranevskaya returns after all the misadventures abroad, because it is because of him that the heroine’s internal conflict escalates (fear of losing the garden, awareness of her helplessness, unwillingness to part with it), and a confrontation arises between Ranevskaya and Lopakhin.

The Cherry Orchard also helps to resolve Lopakhin's internal conflict: he reminded him that he was a peasant, an ordinary peasant who surprisingly managed to get rich. And the opportunity to cut down this garden, which appeared with the purchase of the estate, meant that now nothing else in those parts could remind him of his origin.

What did the garden mean for heroes

For convenience, you can write the ratio of the characters to the cherry orchard in the table.

The symbolism of the cherry orchard in the play

But how then is the image of the protagonist of "The Cherry Orchard" connected with the image of the Motherland? Through this garden, Anton Chekhov showed the past: when the country was rich, the estate of the nobility was in its prime, no one thought about the abolition of serfdom. In the present, a decline in society is already outlined: it is divided, landmarks are changing. Russia already then stood on the threshold of a new era, the nobility became smaller, and the peasants gained strength. And the future is shown in Lopakhin's dreams: the country will be ruled by those who are not afraid to work - only those people can lead the country to prosperity.

The sale of Ranevskaya's cherry orchard for debts and the purchase by Lopakhin is a symbolic transfer of the country from the wealthy class to ordinary workers. By debt here is meant a debt for how the owners treated them for a long time, how they exploited the common people. And the fact that power in the country passes to the common people is a natural result of the path that Russia has taken. And the nobility had to do what Ranevskaya and Gaev did - go abroad or go to work. And the younger generation will try to fulfill the dreams of a brighter future.

Conclusion

After such a small analysis of the work, one can understand that the play "The Cherry Orchard" is a deeper creation than it might seem at first glance. Anton Pavlovich was able to masterfully convey the mood of the society of that time, the position in which it was. And the writer did this very gracefully and subtly, which allows this play to remain loved by readers for a long time.

The great Russian writer Anton Pavlovich Chekhov is the author of unforgettable literary masterpieces. Such works for the stage as "The Seagull", "Three Sisters", the play "The Cherry Orchard" have been included in the repertoires of theaters all over the world for more than a hundred years and enjoy constant success with the public. However, it is far from possible to convey genuine characters in every foreign theater. The play "The Cherry Orchard" is Chekhov's last work. The writer was going to continue his work in the field of theatrical art, but illness prevented him.

"The Cherry Orchard", the history of the creation of the play

The dramaturgy of Russian theatrical art of the late 19th century was distinguished by the dedication of its authors. The writer worked fruitfully until the last day. He died in 1886, at the age of 63, from nervous exhaustion. Anton Pavlovich Chekhov, being already terminally ill, worked without leaving his office, creating his own unique masterpieces. Feelings, exacerbated by malaise, raised the artistic level of the works.

The play of the great Russian playwright Anton Pavlovich Chekhov "The Cherry Orchard", the history of which is associated with an unfavorable period in the writer's life, was released in 1903. Before that, the drama "Three Sisters" was played on the stage of the Moscow Art Theater, which was an unprecedented success. Then Chekhov decided to start work on the next play. In a letter to his wife, actress Olga Leonardovna Knipper, he wrote: "... but the next play that I write will certainly be funny ...".

Not fun at all

Could the last play of the writer, which he created just before his death, become "funny"? Hardly, but sad - yes. The drama "The Cherry Orchard", the history of which is no less tragic than the play itself, has become the quintessence of the entire short life of the great playwright. The characters in the work are written with high artistic accuracy, and the events, although unfolding in a somewhat unexpected direction, do not contain any particular intrigue. Approximately from the middle of the performance, fatal inevitability is felt.

Lyubov Andreevna Ranevskaya

The story of the ruin of the estate of an elderly landowner evokes ambivalent feelings. The relative well-being of Lyubov Andreevna Ranevskaya is beyond doubt, although this impression is supported only indirectly. Her estate is being sold for debts, but there remains the possibility of returning to Paris. Ranevskaya leaves the cherry orchard, which is part of her life, but along with this, the future of the elderly heroine looms hopeful. The writer did not translate the episode of the acquisition of the estate by the merchant Lopakhin with the subsequent one into the category of tragic hopelessness. Although, of course, the sound of an ax cutting down trees is a blow to the fate of Ranevskaya and her family.

The play "The Cherry Orchard", the history of which reflects the desire of Anton Pavlovich Chekhov to show the costs of that time as deeply as possible, reveals the ruin and neglect of the landed estates. Dying noble estates, behind which stood the broken fates of people, were shown by the writer with frightening frankness. The tragedy of the events taking place in the life of the inhabitants of noble nests is part of the Russian reality of that time, gloomy and unpredictable.

The result of all creative life

The play which was taken by the writer from life is the last work of the playwright Chekhov. Its plot is somewhat intertwined with the life of the writer himself. At one time, the family of Anton Pavlovich was forced to sell a house in Taganrog. And the acquaintance of the playwright with the landowner A.S. Kiselev, the owner of the Babkino estate, located near Moscow, made it possible to better understand the problems of the impoverished nobles. Kiselev's estate was sold for debts, and the former landowner entered the service of one of the Kaluga banks. Thus, Kiselev became the prototype of Gaev's character. The rest of the images in the play "The Cherry Orchard" were also taken from life. The characters in this work can be found anywhere. These are ordinary ordinary people.

Creativity and disease

The play "The Cherry Orchard", the story of which is associated with excruciating malaise and overcoming illness, was written in a few months. The premiere took place on January 17, 1904, the birthday of Anton Pavlovich Chekhov. The Moscow Art Theater honored its author. The seriously ill writer found strength in himself and arrived at the premiere. No one expected to see Chekhov in the theatre, the audience gave him an ovation, the entire artistic and literary Moscow gathered in the hall. Rachmaninov and Chaliapin, Gorky and Bryusov - the entire color of the creative beau monde of Moscow honored Chekhov with their presence.

The play "The Cherry Orchard", heroes and characters

Characters of the theatrical production of 1904:

• The main character is the landowner Lyubov Andreevna Ranevskaya.
• Her daughter Anya, 17 years old.
• Brother Ranevskaya - Gaev Leonid Andreevich.
• Adopted daughter of Lyubov Andreevna Varya, 24 years old.
• Student - Trofimov Petr.
• Landowner, neighbor - Boris Borisovich Pishchik.
• Merchant - Ermolai Alekseevich Lopakhin.
• Governess - Charlotte Ivanovna.
• Clerk - Semyon Panteleevich Epikhodov.
• Maid - Dunyasha.
• Old footman - Firs.
• Young lackey - Yasha.
• Postal official.
• Passerby.
• servant.
• Guests.

The play "The Cherry Orchard" - Chekhov's masterpiece - was created in the last year of the writer's life, and therefore can rightly be considered the great playwright's farewell address to people.

The immortal play "The Cherry Orchard" by Chekhov became a worthy end to the creative path of the writer and playwright. Here is its summary.

The estate of the landowner Ranevskaya with a magnificent cherry orchard must be sold for debts. Lyubov Andreevna herself has been living abroad for the last five years with her seventeen-year-old daughter Anya. Ranevskaya's brother (Leonid Andreevich Gaev) and Varya (Lyubov Andreevna's adopted daughter) still live in the estate, which can no longer be saved. Ranevskaya's affairs are going from bad to worse - six years have passed since her husband died. Then the little son died (he drowned in the river). It was then that Lyubov Andreevna went abroad to somehow forget herself. She took a lover, whom she then had to take care of because of his illness.

Homecoming

And now, on the eve of the auction, the owner of the estate, together with her daughter Anya, is returning home. At the station, travelers are met by Leonid Andreevich and Varya. At home, an old acquaintance, the merchant Lopakhin and the maid Dunyasha, are waiting for them. Later, the clerk, Epikhodov, arrives to report back.

Crews drive up to the estate, the meeting is joyful, but everyone talks only about his own. Lyubov Andreevna herself walks through the rooms in tears, recalls the past years and listens to the news as she goes. Dunyasha shares with the mistress the joy that Epikhodov proposed to her.

Lyubov Andreevna stops to take a breath, and then Lopakhin reminds her that the estate is about to be sold, but it can still be saved if the garden is cut down and the land is rented out in parts to summer residents. The idea is quite sound, except for Ranevskaya's deep nostalgia for the past. Lopakhin's proposal terrifies her - how can you destroy the cherry orchard, because it contains all of her past life!

Friend of the Lopakhin family

The disappointed Lopakhin leaves, and Petya Trofimov appears in his place - the "eternal student", a pimply young man who was once the teacher of Ranevskaya's son. He wanders around the living room to no avail. Gaev, left alone with Varya, begins to make plans on how to save the estate from ruin. He remembers an aunt in Yaroslavl, about whom no one has heard anything in the last fifteen years, but at the same time everyone knows that she is very rich. Leonid Andreevich offers to write her a letter with a bow.

Lopakhin returned. He again began to persuade Ranevskaya and her brother to lease the estate, although they did not listen to him. Desperate to convince these "strange, unbusinesslike, frivolous" people, Lopakhin is going to take his leave. Lyubov Andreevna asks him to stay, because "it's more fun with him." Petya captured everyone's attention and began to vilify the intelligentsia, which loves to philosophize, and treats people like cattle. Lopakhin manages to screw in a few words about how few decent people are around. Then Ranevskaya interrupts him and reminds him that the day of trading is coming soon.

The knock of an ax as the end of a lifetime

Comes August 22 - the day on which the auction is scheduled. The night before, a ball is held at the estate, musicians are invited, refreshments are ordered. But no one came, except for the postal official and the head of the station, and after all, once upon a time generals and noble nobles danced on the parquet floor of the living room.

Ranevskaya talks with Petya Trofimov and admits to him that her life will lose its meaning if there is no cherry orchard. Then she shares her secret with the teacher: it turns out that telegrams are sent to her every day from Paris from a former lover, in which he tearfully begs her to return. As they say, there is no evil without good. Petya condemns her for indulging "a nonentity, a petty scoundrel." Ranevskaya gets angry, calls Petya "an eccentric, clean and boring." They are arguing.

Lopakhin and Gaev arrive and announce that the estate has been sold and that Lopakhin has bought it. The merchant is happy, because he managed to beat Deriganov himself at the auction, bypassing him by as much as ninety thousand rubles. And now Ermolai Lopakhin will be able to cut down the cherry orchard, divide the land into plots and rent them out to summer residents. The sound of an ax is heard.

Devastation of the estates

"The Cherry Orchard", the theme of which was so topical for the end of the 19th century, is distinguished by the most realistic display of events. The nobles lived in grand style, constantly borrowed money, and the estate was always the collateral for the loan. And it is quite natural that it then went under the hammer. At Ranevskaya Lyubov Andreevna, they cut down a cherry orchard, going through her soul with an ax. And other landlords, having gone bankrupt, committed suicide, and this happened quite often.

The characterization of "The Cherry Orchard" as a public theatrical play can be reduced to a short formulation: cherry orchards, as the meaning of someone's life, are vulnerable and doomed to death in the conditions of high society and landowners' debt receipts.

In his memoirs about A.P. Chekhov he wrote:

“Look, I found a wonderful title for the play. Wonderful!” he announced, looking straight at me. "Which?" I got excited. “The Cherry Orchard,” and he rolled with joyful laughter. I did not understand the reason for his joy and did not find anything special in the title. However, in order not to upset Anton Pavlovich, I had to pretend that his discovery made an impression on me ... Instead of explaining, Anton Pavlovich began to repeat in different ways, with all sorts of intonations and sound coloring: “The Cherry Orchard. Look, it's a wonderful name! The Cherry Orchard. Cherry!”... After this meeting, several days or a week passed... Once, during a performance, he came to my dressing room and sat down at my table with a solemn smile. Chekhov liked to watch us prepare for the performance. He followed our make-up so closely that you could guess from his face whether you successfully or unsuccessfully put paint on your face. “Listen, not the Cherry, but the Cherry Orchard,” he announced and burst into laughter. At first I did not even understand what it was about, but Anton Pavlovich continued to savor the title of the play, emphasizing the gentle sound yo in the word "Cherry", as if trying with its help to caress the former beautiful, but now unnecessary life, which he destroyed with tears in his play. This time I understood the subtlety: "The Cherry Orchard" is a business, commercial garden that generates income. Such a garden is needed now. But the "Cherry Orchard" does not bring income, it keeps in itself and in its blooming whiteness the poetry of the former aristocratic life. Such a garden grows and blooms for a whim, for the eyes of spoiled aesthetes. It is a pity to destroy it, but it is necessary, since the process of the country's economic development requires it.

Characters

• Ranevskaya, Lyubov Andreevna - landowner
• Anya - her daughter, 17 years old
• Varya - her adopted daughter, 24
• Gaev Leonid Andreevich - brother Ranevskaya
• Lopakhin Ermolai Alekseevich - merchant
• Trofimov Petr Sergeevich - student
• Simeonov-Pishchik Boris Borisovich - landowner
• Charlotte Ivanovna - governess
• Epikhodov Semyon Panteleevich - clerk
• Dunyasha - housemaid.
• Firs - footman, old man 87 years old
• Yasha - young footman
• passerby
• station master
• Postal official
• Guests
• servant

Plot

The action takes place in the spring on the estate of Lyubov Andreevna Ranevskaya, who, after several years of living in France, returns to Russia with her seventeen-year-old daughter Anya. Gaev, Ranevskaya's brother, Varya, her adopted daughter are already waiting for them at the station.

Ranevskaya had practically no money left, and the estate with its beautiful cherry orchard could soon be sold for debts. The familiar merchant Lopakhin tells the landowner his solution to the problem: he proposes to break the land into plots and lease them to summer residents. Lyubov Andreevna is very surprised by such a proposal: she cannot imagine how it is possible to cut down a cherry orchard and rent out her estate, where she grew up, where her young life passed and where her son Grisha died, for rent to summer residents. Gaev and Varya are also trying to find some way out of the current situation: Gaev reassures everyone by saying that he swears that the estate will not be sold. He plans to borrow money from a rich Yaroslavl aunt, who, however, does not like Ranevskaya.

In the second part, all the action is transferred to the street. Lopakhin continues to insist on his plan as the only true one, but they don't even listen to him. At the same time, philosophical themes appear in the play and the image of the teacher Trofimov is more fully revealed. Having entered into a conversation with Ranevskaya and Gaev, Trofimov talks about the future of Russia, about happiness, about a new person. The dreamy Trofimov enters into an argument with the materialist Lopakhin, who is not able to appreciate his thoughts, and left alone with Anya, who understands him alone, Trofimov tells her that one must be "above love."

In the third act, Gaev and Lopakhin leave for the city, where the auction is to take place, and in the meantime, dances are held on the estate. Governess Charlotte Ivanovna entertains guests with her ventriloquism tricks. Each of the characters is busy with their own problems. Lyubov Andreevna worries about why her brother does not return for so long. When Gaev nevertheless appears, he informs his sister, full of unfounded hopes, that the estate has been sold, and Lopakhin has become its buyer. Lopakhin is happy, he feels his victory and asks the musicians to play something funny, he does not care about the sadness and despair of Ranevsky and Gaev.

The final act is devoted to the departure of Ranevskaya, her brother, daughters and servants from the estate. They leave the place that meant so much to them and start a new life. Lopakhin's plan came true: now, as he wanted, he will cut down the garden and lease the land to summer residents. Everyone leaves, and only the old lackey Firs, abandoned by everyone, delivers the final monologue, after which the sound of an ax banging on wood is heard.

Criticism

Artistic features

Theatrical performances

First production at the Moscow Art Theater

• On January 17, 1904, the premiere of the play took place at the Moscow Art Theatre. Directed by Stanislavsky and Nemirovich-Danchenko, artist V. A. Simov

Cast:

Stanislavsky as Gaev

• On April 17, 1958, a new production of the play was staged at the Moscow Art Theater (dir. V. Ya. Stanitsyn, art director L. N. Silich).

• On the stage of the Art Theater (where the play took place in 1904-1959 1273 times) at different times were busy: A. K. Tarasova, O. N. Androvskaya, V. Popova (Ranevskaya); Koreneva, Tarasova, A. O. Stepanova, Komolova, I. P. Goshev (Anya); N. N. Litovtseva, M. G. Savitskaya, O. I. Pyzhova, Tikhomirova (Varya); V. V. Luzhsky, Ershov, Podgorny, Sosnin, V. I. Kachalov, P. V. Massalsky (Gaev); N. P. Batalov, N. O. Massalitinov, B. G. Dobronravov, S. K. Blinnikov, Zhiltsov (Lopakhin); Bersenev, Podgorny, V. A. Orlov, Yarov (Trofimov); M. N. Kedrov, V. V. Gotovtsev, Volkov (Simeonov-Pishchik); Khalyutina, M. O. Knebel, Mores (Charlotte Ivanovna); A. N. Gribov, V. O. Toporkov, N. I. Dorokhin (Epikhodov); S. Kuznetsov, Tarkhanov, A. N. Gribov, Popov, N. P. Khmelev, Titushin (Firs); Gribov, S. K. Blinnikov, V. V. Belokurov (Yasha).

• Simultaneously with the Art Theatre, on January 17, 1904, at the Dyukova Kharkov Theater (dir. Pesotsky and Aleksandrov; Ranevskaya - Ilnarskaya, Lopakhin - Pavlenkov, Trofimov - Neradovsky, Simeonov-Pishchik - B. S. Borisov, Charlotta Ivanovna - Milic, Epikhodov - Kolobov, Firs - Gluske-Dobrovolsky).
• Association of the New Drama (Kherson, 1904; director and performer of the role of Trofimov - V. E. Meyerhold)
• Alexandrinsky Theater (1905; director Ozarovsky, art director Konstantin Korovin; resumed in 1915; director A. N. Lavrentiev)
• Petersburg Public Theater and Mobile Theater under the direction of. P. P. Gaideburov and N. F. Skarskoy (1907 and 1908, director and performer of the role of Trofimov - P. P. Gaideburov)
• Kyiv Theater of Solovtsov (1904)
• Vilna Theater (1904)
• Petersburg Maly Theater (1910)
• Kharkov Theater (1910, dir. Sinelnikov)

and other theaters.

Among the performers of the play: Gaev - Dalmatov, Ranevskaya - Michurina-Samoilova, Lopakhin - Khodotov, Simeonov-Pishchik - Varlamov.

USSR

• Leningrad Comedy Theater (1926; dir. K. P. Khokhlov; Ranevskaya - Granovskaya, Yasha - Kharlamov, Firs - Nadezhdin)
• Nizhny Novgorod Drama Theater (1929; director and performer of the role of Gaev - Sobolshchikov-Samarin, artist K. Ivanov; Ranevskaya - Zorich, Lopakhin - Muratov, Epikhodov - Khovansky, Firs - Levkoev)
• Theater-studio under the direction of R. N. Simonov (1934; dir. Lobanov, artistic director Matrunin); Ranevskaya - A. I. Delektorskaya, Gaev - N. S. Tolkachev, Lopakhin - Yu. T. Chernovolenko, Trofimov - E. K. Zabiyakin, Anya - K. I. Tarasova.
• Voronezh Bolshoi Soviet Theater (1935; director and performer of the role of Gaev - Shebuev, artist Sternin; Ranevskaya - Danilevskaya, Anya - Opposite, Lopakhin - G. Vasiliev, Charlotte Ivanovna - Mariuts, Firs - Peltzer; the performance was shown in the same year in Moscow)
• Leningrad Bolshoi Drama Theater (1940; directed by P. P. Gaideburov, art director T. G. Bruni; Ranevskaya - Granovskaya, Epikhodov - Safronov, Simeonov-Pishchik - Larikov)
• Theatre. I. Franko (1946; dir. K. P. Khokhlov, artist Meller; Ranevskaya - Uzhviy, Lopakhin - Dobrovolsky, Gaev - Milyutenko, Trofimov - Ponomarenko)
• Yaroslavl Theater (1950, Ranevskaya - Chudinova, Gaev - Komissarov, Lopakhin - Romodanov, Trofimov - Nelsky, Simeonov-Pishchik - Svobodin)
• Theatre. Ya. Kupala, Minsk (1951; Ranevskaya - Galina, Firs - Grigonis, Lopakhin - Platonov)
• Theatre. Sundukyan, Yerevan (1951; director Ajemyan, art director S. Arutchyan; Ranevskaya - Vartanyan, Anya - Muradyan, Gaev - Dzhanibekian, Lopakhin - Malyan, Trofimov - G. Harutyunyan, Charlotte Ivanovna - Stepanyan, Epikhodov - Avetisyan, Firs - Vagarshyan )
• Latvian Drama Theatre, Riga (1953; dir. Leimanis; Ranevskaya - Klint, Lopakhin - Katlap, Gaev - Videniek, Simeonov-Pishchik - Silsniek, Firs - Jaunushan)
• Moscow Theatre. Lenin Komsomol (1954; director and performer of the role of Ranevskaya - S.V. Giatsintova, art. Shestakov)
• Sverdlovsk Drama Theater (1954; dir. Bityutsky, art director Kuzmin; Gaev - Ilyin, Epikhodov - Maksimov, Ranevskaya - Aman-Dalskaya)
• Moscow Theatre. V. V. Mayakovsky (1956, dir. Dudin, Ranevskaya - Babanova)
• Kharkov Theater of Russian Drama (1935; dir. N. Petrov)
• Theater "Red Torch" (Novosibirsk, 1935; dir. Litvinov)
• Lithuanian Drama Theatre, Vilnius (1945; dir. Dauguvetis)
• Irkutsk Theater (1946),
• Saratov Theater (1950),
• Taganrog Theater (1950, renewed in 1960);
• Rostov-on-Don Theater (1954),
• Tallinn Russian Theater (1954),
• Riga Theater (1960),
• Kazan Big Dram. theater (1960)
• Krasnodar Theater (1960),
• Frunze Theater (1960)
• In the Youth Theater: Lengostyuz (1950), Kuibyshevsky (1953), Moscow regional regional (1955), Gorky (1960), etc.
• - Taganka Theatre, director A. V. Efros. In the role of Lopakhin - Vladimir Vysotsky
• - "The Cherry Orchard" (television performance) - director Leonid Kheifets. Cast: Rufina Nifontova - Ranevskaya, Innokenty Smoktunovsky - Gaev, Yuri Kayurov - Lopakhin
• - Theater of Satire, director V. N. Pluchek. Cast: Andrey Mironov - Lopakhin, Anatoly Papanov - Gaev
• - Moscow Art Theatre. Gorky, director S. V. Danchenko; as Ranevskaya T. V. Doronina

England

Stage Society Theater (1911), The Old Vic (1933 and others) in London, the Sadler's Wells Theater (London, 1934, dir. Tyron Guthrie, trans. Hubert Butler), Sheffield Repertory Theater (1936), Cornwall University theater (1946), Oxford Dramatic Society Theater (1957 and 1958), Liverpool Theater

• the Royal National Theatre, (London, 1978, dir. Peter Hall, per. Michael Frayn (Noises Off) Ranevskaya - Dorothy Tutin, Lopakhin - A. Finney Albert Finney, Trofimov - B. Kingsley, Firs - Ralph Richardson.
• the Riverside Studios (London), 1978 dir. Peter Gill (Gill)
• 2007: The Crucible Theatre, Sheffield dir. Jonathan Miller, Ranevskaya - Joanna Lumley.
• 2009: The Old Vic, London, dir. Sam Mendes, adaptation - Tom Stoppard

USA

• New York Civic Repertory Theater (1928, 1944; director and performer of the role of Ranevskaya Eva Le Gallienne), University theaters in Iowa (1932) and Detroit (1941), New York 4th Street Theater (1955)
• the Lincoln Center for the Performing Arts (1977, Ranevskaya - Irene Worth, Dunyasha - M. Streep, dir. Andrei Serban, Tony Award for costumes - Santo Loquasto)
• The Atlantic Theater Company, 2005 (Tom Donaghy)
• the Mark Taper Forum in Los Angeles, California, 2006; Ranevskaya - Annette Bening, Lopakhin - A. Molina, trans. Martin Sherman (Bent); dir. Sean Mathias
• 2007 The Huntington Theater Company (Boston University) trans. Richard Nelson, dir. Nicholas Martin, Ranevskaya - Kate Burton, Charlotte Ivanovna - Joyce Van Patten, Firs - Dick Latessa.

Other countries

• Germany - Leipzig mountains. theater (1914 and 1950), Folk Stage, Berlin (1918), Berlin Comedy (1947), Frankfurt (Oder) Theater (1951), Heidelberg Theater (1957), Frankfurt (Main) Theater (1959)
• France - Marigny theater in Paris (1954)
• in Czechoslovakia - the theater in Brno (1905 and 1952), the Prague National Theater (191, 1951, 1952), the Prague Theater in Vinohrady (1945), the theater in Ostrava (1954), the Prague Realistic Theater (1959)
• in Japan - the Kin-dai gekijo troupe (1915), the theater of the Shigeki Kekai society (1923), the Tsukidze theater (1927), the Bungakuza and Haiyuza troupes (1945), etc.
• Independent Theater in Sydney (1942); Budapest National Theater (1947), Teatro Piccolo in Milan (1950), Royal Theater in The Hague (Netherlands, 1953), National Theater in Oslo (1953), Sofia Free Theater (1954), Paris Theater Marigny (1954; dir. J.-L. Barro, Ranevskaya - Renault), the National Theater in Reykjavik (Iceland, 1957), the Krakow Theater "Stari", the Bucharest Municipal Theater (1958), the Simiento Theater in Buenos Aires (1958), the theater in Stockholm (1958 ).
• 1981 P. Brook (in French); Ranevskaya - Natasha Parry (dir.'s wife), Lopakhin - Niels Arestrup, Gaev - M. Piccoli. Restored to the Brooklyn Academy of Music (1988).
• Staging in Paris by the master of the French theater Bernard Sobel of the trilogy: Anton Chekhov "The Cherry Orchard" (1903) - Isaac Babel "Maria" (1933) - Mikhail Volokhov "The Blind Man's Bluff" (1989). press
• 2008 Chichester Festival Theater Stage (starring: Dame Diana Rigg, Frank Finlay, Natalie Cassidy, Jemma Redgrave, Maureen Lipman)
• The Bridge Project 2009, T. Stoppard
• Ukraine - 2008 - Rivne Ukrainian Academic Music and Drama Theatre. Director - Dmitry Lazorko. Costume designer - Alexey Zalevsky. Ranevskaya - folk art. Ukraine Nina Nikolaeva. Lopakhin - honored art. Ukraine Victor Yanchuk.
• Israel - 2010 - Khan Theater (Jerusalem). Translation - Rivka Meshulah, production - Michael Gurevich, music - Roy Yarkoni.
• Catalonia 2010 - Teatro Romea (Barcelona). Translation - Julio Manrique, adaptation - David Mamet, production - Christina Genebat.
• Ukraine - 2011 - Dnepropetrovsk Theater and Art College.

• - "Contemporary", dir. Galina Volchek, set design - Pavel Kaplevich and Pyotr Kirillov; Ranevskaya- Marina Neyolova, Anya- Maria Anikanova, Varya- Elena Yakovleva, Gaev- Igor Kvasha, Lopakhin- Sergey Garmash, Trofimov- Alexander Khovansky, Simeonov-Pishchik- Gennady Frolov, Charlotte Ivanovna- Olga Drozdova, Epikhodov- Alexander Oleshko, Dunyasha- Daria Frolova, Firs- Valentin Gaft - press

• - Theater "At the Nikitsky Gates", dir. Mark Rozovsky; Ranevskaya- Galina Borisova, Gaev- Igor Staroseltsev, Petya Trofimov- Valery Tolkov, Varya- Olga Olegovna Lebedeva, Firs- Alexander Karpov, Lopakin- Andrey Molotkov

• - Stanislavsky Foundation (Moscow) & Meno Fortas (Vilnius), dir. E. Nyakroshus; Ranevskaya- Lyudmila Maksakova, Varya- Inga Oboldina, Gaev- Vladimir Ilyin, Lopakhin- Evgeny Mironov, Firs- Alexey Petrenko - press - press

• - Moscow Art Theater named after A.P. Chekhov; dir. Adolf Shapiro, Ranevskaya- Renata Litvinova, Gaev- Sergei Dreiden, Lopakhin- Andrey Smolyakov, Charlotte- Evdokia Germanova, Epikhodov- Sergey Ugryumov, Firs- Vladimir Kashpur. - program, press - press
• - Russian Academic Youth Theatre, dir. Alexey Borodin - press
• - "Kolyada-theatre", Yekaterinburg. Directed by Nikolai Kolyada.
• - "Lenkom", dir. Mark Zakharov; Ranevskaya- Alexandra Zakharova, Gaev- Alexander Zbruev, Petya Trofimov- Dmitry Gizbrecht, Varya- Olesya Zheleznyak, Firs- Leonid Armor, Lopakhin- Anton Shagin - press

• - St. Petersburg Theater "Russian Entreprise" named after Andrei Mironov, dir. Yuri Turcanu; Ranevskaya- Nelly Popova, Gaev- Dmitry Vorobyov, Petya Trofimov- Vladimir Krylov / Mikhail Dragunov, Varya- Olga Semyonova, Firs- Ernst Romanov, Lopakhin- Vasily Shchipitsyn, Anya- Svetlana Shchedrina, Charlotte- Ksenia Katalimova, Yasha- Roman Ushakov, Epikhodov- Arkady Koval/Nikolay Danilov, Dunyasha- Evgenia Gagarina

• - Nizhny Novgorod State Academic Drama Theater named after M. Gorky, dir. Valery Sarkisov; Ranevskaya- Olga Beregova/Elena Turkova, Anya- Daria Koroleva, Varya- Maria Melnikova, Gaev- Anatoly Firstov/Sergei Kabailo, Lopakhin- Sergey Blokhin, Trofimov- Alexander Suchkov, Simeonov-Pishchik- Yuri Filshin / Anatoly Firstov, Charlotte- Elena Surodeikina, Epikhodov- Nikolai Ignatiev, Dunyasha- Veronica Blokhina, Firs- Valery Nikitin, Yasha- Evgeny Zerin, passerby- Valentin Ometov, First guest- Artyom Prokhorov, Second guest- Nikolai Shubyakov.

Screen adaptations

Translations

Armenian (A. Ter-Avanyan), Azerbaijani (Nigyar), Georgian (Sh. Dadiani), Ukrainian (P. Panch), Estonian (E. Raudsepp), Moldavian (R. Portnov), Tatar (I. Gazi), Chuvash (V. Alager), Gorno-Altaic (N. Kuchiyak), Hebrew (Rivka Meshulakh), etc.

Translated and published in German (Munich - 1912 and 1919, Berlin - 1918), English (London - 1912, 1923, 1924, 1927, New York, 1922, 1926, 1929 and New Haven - 1908), French ( 1922), Chinese (1921), Hindi (1958), Indonesian (R. Tinas in 1972) and others.

In popular culture

In Henry's Crime Thing, the protagonist decides to rob a bank by sneaking through an ancient tunnel, the entrance to which is in the theater behind the bank. At this time, the theater is preparing for the production of The Cherry Orchard, and the main character gets a job playing Lopakhin there in order to have access to the dressing room, behind the wall of which there is an entrance to the tunnel.

Notes

Literature

• Collection of the partnership "Knowledge" for 1903, book. 2nd, St. Petersburg, 1904.
• first separate ed. - A. F. Marx, St. Petersburg. .
• Efros N. E. "The Cherry Orchard". The play by A.P. Chekhov, staged by Moscow. Artistic theater. - Pg., 1919.
• Yuzovsky Yu. Performances and plays. - M., 1935. S. 298-309.

Links

• Tender soul, author A. Minkin
• A. I. Revyakin The creative history of the play "The Cherry Orchard"