Anton Chekhov

A. P. Chudakov, Chekhov's Poetics, tr. F. J. Cruise and D. Dragt (Ann Arbor: Ardis, 1983), p. 193.

D. S. Mirsky, Contemporary Russian Literature 1881-1925 (London: George Routledge and sons, 1926), p. 88.

Nina's last name 'Zarechnaya' literally means 'on the other side of the river,' both suggestive of her alien status on the estate and reminiscent oizamorskaya, 'on the other side of the water,' a term frequently synonymous in Russian folklore with 'wondrous strange.'

W. B. Yeats, The Collected Poems (London and New York: Macmillan, 1964).

6. Uncle Vanya

27 January 1899, quoted in S. S. Koteliansky, 'A note on "The Wood Demon", in The Wood Demon (New York: Macmil­lan, 1926), p. 14.

M. Gorky and A. Chekhov, Stati, vyskazyvaniya, perepiska (Moscow: Goslitizdat, 1951), pp. 63-65.

Osip Mandelshtam, 'O pyese A. Chekhova "Dyadya Vanya," ' [1936] Sobranie sochineny 4 (Paris: YMCA Press), pp. 107-109.

Samuel Beckett, Proust (London: Chatto and Windus, 1931), p. 8.

Also the sub-title of Turgenev's.4 Month in the Country.

Chekhov may have had in mind the Russian fairy-tale of 'Yelena the Fair,' a Cinderella story in which the snivelling booby Vanya woos and wins the beautiful princess with the aid of his dead father. An English version can be found in Russian Fairy Tales by W. R. B. Ralston (London, 1887).

Robert Mazzocco, 'In Chekhov's spell,' New York Review of Books (22 Jan. 1976), p. 35.

Vsevolod Meyerhold, 'Teatre (k istorii tekhnike),' in Teatr: kniga o novom teatre (St. Petersburg: Shipovnik, 1908), pp. 143-45. A partial English translation of this essay appears in Meyerhold on Theatre, ed. and tr. Edward Braun (London: Methuen, 1969), pp. 25-39.

Vladimir Ladyzhensky, 'Dalyokie gody,'Rossiya i slavyan- stvo (13 July 1929), p. 5.

Olga Knipper-Chekhova, 'Ob A. P. Chekhove,' Vos- pominaniya i stati (Moscow: Iskusstvo, 1972), I, 56.

Maksim Gorky, Sobranie sochineniya (Moscow: Akademiya Nauk SSR, 1958), XXVIII, 159.

Leonid Andreyev, 'Tri sestry,' Polnoe sobranie sochineny (St. Petersburg: A. F. Marks, 1913), VI, 321-25.

Randall Jarrell, 'About The Three Sisters: Notes,' in The Three Sisters (London: Macmillan, 1969), pp. 105-106. There had been an impressionist show in Moscow in 1896, and Tolstoy had characterised Chekhov's technique as a story-waiter as impressionism. As early as 1912 George Calderon was comparing The Cherry Orchard to a French 'vibrationist' picture.

Jovan Hristic, Le theatre de Tchekhov, tr. H. and F. Wybrands (Lausanne: L'Age d'homme, 1982), p. 166.

The Cherry Orchard

Varya is another variant of the driven housekeeper-type Chekhov had described in his plans for a collaborative play with Suvorin. Earlier avatars include Yuliya in The Wood Demon, Sonya in Uncle Vanya and Natasha in Three Sisters.

A. R. Kugel, Russkie dramaturgi (Moscow: Mir, 1934), p. 120.

Jean-Louis Barrault, 'Pourquoi La Cerisaiel\ Cahiers dela Compagnie Barrault-Renaud 6 (July 1954), pp. 87-97.

Henri Bergson, Laughter, an Essay on the Meaning of the Comic, tr. C. Brereton and F. Rothwell (New York, Macmillan, 1911), pp. 88-89.

M. Nevedomsky, 'Simvolizm v posledney drame A. P. Chekhova,' Mir bozhy 8, 2 (1904), pp. 18-19.

Kugel, op. cit., p. 125.

Ivan Bunin, O Chekhove (New York: Chekhov Publishing House, 1955), p. 216.

Andrey Bely, 'The Cherry Orchard,' in Russian Dramatic Theory from Pushkin to the Symbolists, ed. and tr. L. Senelick (Austin: University of Texas Press, 1981), p. 92.

9. Ibid.

Vsevolod Meyerhold, Perepiska (Moscow: Iskusstvo, 1976), p. 45; and 'Teatr (k istorii tekhnike),' in Teatr: kniga o novom teatre (St. Petersburg: Shivpovnik, 1908), pp. 143-45.

Eva Le Gallienne, At 33 (New York: Longmans, Green, 1934), p. 224.

9. The Theatrical Filter

Yu. M. Yuryev, Zapiski (Leningrad-Moscow: Iskusstvo, 1963), II, 135.

Aleksandr Blok, 'On Drama,' in Russian Dramatic Theory from Pushkin to the Symbolists, ed. and tr. L. Senelick (Austin: University of Texas Press, 1981), p. 111.

Vladimir Mayakovsky, Pyesy (Moscow: Detskaya literat- ura, 1971), p. 104.

Boris Zakhava,Sovremenniki (Moscow: Iskusstvo, 1969), p. 269-73.

VI. I. Nemirovich-Danchenko vedet repetitsiyu 'Tri sestry' A. P. Chekhova v postanovke MKhAT 1940 goda (Moscow: Iskusstvo, 1963), pp. 149, 159, 189.