![]() ![]() Salvation, as Gilman elucidates, is beside the Chekhovian point. Therein, in the stick-to-it-ness, resides one's dignity. Like Nina, one must stick to "it," it being one's character or one's work. Here, we experience the clash of fact and desire and recognize that Chekhov purposefully provides neither solutions nor pat prescriptions. On The Seagull, Gilman writes that the play's chief subjects are an and love, yet "the reigning spirit of The Seagull is antiromanticism." This seemingly unusual opposition propels the drama since many of the characters alternately and perhaps immaturely or unwiseLy rhapsodize their overevaluations of both love and artistic work. Gilman still uses Magarshack's Platollov and Hingley's Ivanov and Wood Demon. During the intervening years, Gilman switched translations from Ronald HingJey to Kristin lohnsen-Neshati for The Seagull and Paul Schmidt for Uncle Vanya, Three Sisters, and The Cherry Orchard. ![]() Now, he painstakingly elaborates and develops. in his book The Making 0/ Modern Drama, Gilman eloquently sketched many of these ideas in his Chekhov chapter. ![]() ![]() Richard Gilman's book on Chekhov's plays will delight those who wish to locate Chekhov's work beyond the critical cliches of bittersweet mood and atmosphere, inconclusiveness, and lack of traditional action or sensation, for Gilman offers new and different ways of understanding, performing. New Haven and London : Yale University Press 1995. Chekhov's Plays: An Opening into Eternity. In lieu of an abstract, here is a brief excerpt of the content:īook Reviews RICHARD GILMAN. ![]()
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