Research Paper On Chekhov

The author portrayed the banker as a foolish and greedy man, and since Chekhov characterized him as static, he never changed. His inability to alter his ways resulted in him making an extraordinarily rash bet and later on him wanting to kill a man in cold blood. “That is not true! I bet you two million that you

The stories of Anton Chekhov mark a focal moment in European fiction. This is the point where 19th realist caucus of the short stories started their transformation into modern form. As such, his work straddles two traditions. The first is that of the anti-romantic realism which has a sharp observation of external social detail. It has human behavior conveyed within tight plot. The second is the modern psychological realism in which the action in typically internal and expressed in associative narrative that is built on epiphanic moments. In consideration of the two sides, Chekhov developed powerful personal styles that presage modernism without losing traditional frills of the form. This essay will discuss the Chekhov's portrayal of women.

The protagonist, Rodion Romanovich Raskolnikov, a former student, decides to murder and rob an old pawn broker, Alyona Ivanovna, not due to his desperate need of money, but due to a theory he wants to test. Raskolnikov leaves no evidence which would lead the investigation to him; however, the police lieutenant in charge of the case, Porfiry Petrovich, a meticulous thinker, understands Raskolnikov’s theory and has a big role in influencing the student to confess. Between the murder and the confession, Raskolnikov undergoes a long and painful process of thought. His friend, Razumikhin Prokofych, along with a prostitute and his future significant other, Sonia Semyonovna Marmeladova, are part of the protagonist’s path. In the end, Sonia turns out to be Raskolnikov’s salvation as she helps him find redemption and start living

In Dostoyevsky’s Crime and Punishment, the character of Raskolnikov is one who may be considered evil or immoral for his actions, however his portrayal by the author is one that instills sympathy in the reader for the character due to his motives and personal, internal consequences he suffers for his crime of murder. There is considerable evidence supporting the view that Raskolnikov wants his theory surrounding the murder to be proven wrong, to get caught, and to be punished. This tells the reader that deep

Raskolnikov murders an old pawnbroker woman for seemingly no reason at all. His sister and mother move to St. Petersburg following his sister's engagement to a man whom Raskolnikov was extremely displeased. Raskolnikov undergoes severe mental trauma, and falls ill after the

Modernism describes the ideology of the art and design that were produced during the modernist period. There has been a lot of controversy about when modernism started, yet many believe it initiated sometime in the late 19th century and continued to the early 20th century. The modernist movement was meant to be a break from traditions and it was set up to separate the value of certain works from the conservative realism. For instance, Unlike the traditional art that was aesthetic, this movement was more about space and form. In modernist design, shape and organization of products and buildings were based on their functional requirements. As a result, designs became simpler without the traditional decorative concepts. The idea behind the

In the 3rd century B.C. a philosopher Aristotle formed what he called the “Six Elements of Drama,” which are thought/theme/ideas, action/plot, characters, language, music, and spectacle. Little did he know that two millennia later, we would use these guidelines in order to evaluate or develop an exquisite play. Twelve Angry Jurors followed these guidelines to pull in their audience and cause them to be attached to characters or intrigued by the plot in such a way only a play of high excellence could. This play was performed in Merrol Hyde Magnet School. Twelve Angry Jurors demonstrates the excellence in the thought/theme/ideas, action/plot, characters, language, music, spectacle also known as the “Six Elements of Drama”

Dramatic irony is used throughout Crime and Punishment. The reader knows that Rodion Romanovitch Raskolnikov killed the pawnbroker, Alyona Ivanovna, and her sister, Lizaveta Ivanovna. A quote to support this is,

In each version of the story, the narrator changes. This allows two different point of views to develop in each story. In Chekhov’s

In the words of Gay McAuley, “for an activity to be regarded as a performance, it must involve the live presence of the performers and those witnessing it…” (McAuley, 2009, cited in Schechner, 2013, pp.38). This statement recognises the importance of both the actor and the audience for something to truly function as a performance. In addition, Lloyd Llewellyn-Jones highlights the significance of the theatrical space and how it can influence an audience stating that “on entering a theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain reaction or series of responses” (Llewellyn-Jones, 2002, pp.3). The relationship between actor, audience and theatrical space is no less important today than it was at the time of theatre during the Spanish Golden Age and the creation of Commedia dell’arte in Italy. Despite being very close geographically with theatre thriving for both in the same era, sources that explore the social, cultural and historical context of these countries and the theatre styles will bring to light the similarities and differences. This essay will analyse the staging, the behaviour of the audience as well as the challenges the actors faced, and how this directly influenced the relationship between actor, audience and theatrical space.

The past is constantly mentioned by the characters in this play. Even the cherry orchard as property, is a symbol of the Old Russian regime. The end of the Old Regime therefore, is portrayed by Chekhov when at the end of the play Lohpakin becomes the owner of the estate and cuts the cherry orchard. Chekhov, as a contemporary observer, uses his play to criticize some aspects of the emancipation of 1861. The message he leaves is that although the emancipation was an important step towards freedom, it was not the only one to be made. This message, besides being given throughout the novel, is also stated by Trofimov, an idealist student who realizes how far Russia is from achieving real freedom. At the end of Act 2, Trofivom tells Anya, Madame Ranevskaya’s 17-year-old daughter: “...In order to start living in the present, we first have to redeem our past, make an end of it, and we can only do that through suffering…” .

Thoroughly, this ordeal Gurov has been through finally has shown him that he has matured and has become a better man. As he brings his young daughter to school and when he drops her off there he begins to reflect upon the two lives he is living, one that is full of the truths and another that is full of lies. This ordeal has made him a better person unquestionably, his affair with Anna has made him ashamed of the bad things he has done in the past. They both feel that the love both of them have had with each other has changed them forever.

Complicating many of the problems in the play are somewhat minor conflicts between the main characters. These complications are centered on Irina, who feeds her ego at the expense of others. The focus of Irina's flaunting is Treplev, who becomes suicidal after feeling neglected. She says to Masha, "You're twenty-two and I'm nearly twice as old. Now Dr. Dorn, which of us looks younger? (after her responds, "you"). And why? Because I work, I feel, I'm always on the go while you (Masha) stay put - you're only half alive" (II, P. 82). Not only does Irina complicate the play by undermining Treplev's efforts, but also those of Nina. She says to Nina, "yes, and so

Upon discovering the fact that Dounia and Pulcheria would soon move to St. Petersburg, Svidrigailov also sets off for the city, seeing that his wife has just unexpectedly died; this action is seen as a means in which to satisfy instant delight. Despite prior circumstances, Dounia complies to follow Svidrigailov to his room where he proceeds to coerce her. Regardless of Dounia’s adamant refusal “he had never seen her so handsome. The fire glowing in her eyes at the moment she raised the revolver seemed to kindle him and there was a pang of anguish in his heart. He took a step forward and a shot rang out. The bullet grazed his hair and flew into the wall behind him. He stood still and laughed softly” (491). This scene is the epitome of Svidrigailov’s maniacal obsessions and unveils the nature of his intentions.

Rank, deadly pessimistic, a disease, evil to be deprecated (Bordman and Hischak 1). Who would have thought such words would be used to describe the work of the man who swept modernism into theatre? Henrik Ibsen’s life was not one to envy. The shame the surrounded his childhood and seeped into his adulthood greatly impacted his writing. Infusing his plays with highly controversial themes, which lacked the current sunny air of Victorian values which Europe held in such a high regard, which led him to make a lasting impact on theatre. However despite the depression and poverty that surrounded Ibsen’s life, as well as having his work often dubbed pessimistic and unwanted, he left an every