The Cherry Orchard by Simon Stephens
Der Kirschgarten ist eine tragische, gesellschaftskritische Kom die in vier Akten von Anton Pawlowitsch Tschechow. Das St ck spielt um 1900 auf einem russischen Landgut mit einem Herrenhaus, das von einem wundersch nen Kirschgarten umgeben ist. Anja, die Tochter der Gutsbesitzerin Ranjewskaja, holt ihre Mutter aus Paris zur ck, weil das Anwesen hoch verschuldet ist und versteigert werden muss. Die Mutter war vor f nf Jahren mit ihrem Geliebten nach Frankreich geflohen, nachdem ihr kleiner Sohn damals im nahe gelegenem Fluss ertrunken war. Der Bruder von Ranjewskaja, Gajew, war unf hig, mit Geld umzugehen und genoss das Leben. Eine Rettung k nnte der ehemalige Leibeigene der Familie, der Kaufmann Lopachin, bedeuten, der zu einem Verm gen gekommen ist. Er schl gt vor, Datschen (Ferienh user) auf dem Grundst ck zu errichten und sie an Sommerg ste zu vermieten. Die Voraussetzung daf r w re das Abholzen des wundersch nen, aber nutzlos gewordenen Kirschgartens, der gerade in voller Bl te ist. Eine andere L sung w re, wenn Warja, die Pflegetochter der Gutbesitzerin, Lopachin heiraten w rde, aber ihr Traum geht nicht in Erf llung. Es entfaltet sich hingegen eine Liebe zwischen dem ehemaligen Erzieher des ertrunkenen Sohnes, dem ewigen Studenten Trofimov, und Anja, der Tochter der Gutsbesitzerin. Anton Pawlowitsch Tschechow (1860-1904) war ein russischer Schriftsteller, Novellist und Dramatiker. International ist Tschechow vor allem als Dramatiker durch seine Theaterst cke wie Drei Schwestern, Die M we oder Der Kirschgarten bekannt. Mit der f r ihn typischen, wertneutralen und zur ckhaltenden Art, Aspekte aus dem Leben und der Denkweise der Menschen in der russischen Provinz darzustellen, gilt Tschechow als einer der bedeutendsten Autoren der russischen Literatur.
Now Chekhov's final and finest play, from 1903, is the latest twentieth-century masterpiece to get a good going-overActually, make that an excellent going-over . . . It's been pruned, yes, but this grimly witty tragicomedy is unmistakably Chekhov . . . and it teems with life. * The Times *
Stephens [has] refocussed Chekhov's play into a potent study in feminine - rather than societal - collapse. * Time Out London *
Chekhov was superb on the destructive impact of people who take no heed: who turn other people's lives upside down (Uncle Vanya) or blithely ignore warnings (Cherry Orchard). He was superb too on those who can see the dangers, but are powerless to do anything. Little wonder then, that these great plays feel so painfully pertinent now to audiences keenly aware of intractable global problems. Little wonder either that contemporary theatre-makers seek to meet his works in the spirit of innovation. * Financial Times *
If Chekhov were planning a revenant visit to see how his work fares in England in the 21 century, this would be an opportune moment to come. * Evening Standard *
Revivals of classic plays are the lifeblood of theatre. They are the way in which the art form tests the reputation, relevance and validity of the masterpieces of the past. * Tribune *
Stephens [has] refocussed Chekhov's play into a potent study in feminine - rather than societal - collapse. * Time Out London *
Chekhov was superb on the destructive impact of people who take no heed: who turn other people's lives upside down (Uncle Vanya) or blithely ignore warnings (Cherry Orchard). He was superb too on those who can see the dangers, but are powerless to do anything. Little wonder then, that these great plays feel so painfully pertinent now to audiences keenly aware of intractable global problems. Little wonder either that contemporary theatre-makers seek to meet his works in the spirit of innovation. * Financial Times *
If Chekhov were planning a revenant visit to see how his work fares in England in the 21 century, this would be an opportune moment to come. * Evening Standard *
Revivals of classic plays are the lifeblood of theatre. They are the way in which the art form tests the reputation, relevance and validity of the masterpieces of the past. * Tribune *
Simon Stephens began his theatrical career in the literary department of the Royal Court Theatre, where he ran its Young Writers' Programme. His plays for theatre include Bluebird; Herons; Port; One Minute; Christmas; Country Music; On the Shore of the Wide World; Motortown; Pornography; Harper Regan; Sea Wall; Heaven; Punk Rock; The Trial of Ubu; A Thousand Stars Explode in the Sky (co-written with David Eldridge and Robert Holman); Marine Parade (co-written with Mark Eitzel); T5; Wastwater; Morning; an adaptation of A Doll's House; an adaptation of The Curious Incident of the Dog in the Night-Time; Birdland and Blindsided. His radio plays include Five Letters Home to Elizabeth and Digging. His screenwriting includes an adaptation of Motortown; the two-part serial Dive (with Dominic Savage) and a short film adaptation of Pornography. Awards include the Pearson Award for Best New Play, 2001, for Port; Olivier Award for Best New Play for On the Shore of the Wide World, 2005; and for Motortown German critics in Theater Heute's annual poll voted him Best Foreign Playwright, 2007.
| SKU | Unavailable |
| ISBN 13 | 9781474231770 |
| ISBN 10 | 1474231772 |
| Title | The Cherry Orchard |
| Author | Simon Stephens |
| Series | Modern Plays |
| Condition | Unavailable |
| Binding Type | Paperback |
| Publisher | Bloomsbury Publishing PLC |
| Year published | 2014-10-10 |
| Number of pages | 104 |
| Cover note | Book picture is for illustrative purposes only, actual binding, cover or edition may vary. |
| Note | Unavailable |