The Relationship Of Civilization, Nature, And Freedom Of The Cherry Orchard

Afterwards, Anderson goes back in time and reveals how the life of a genius, Shostakovich, was affected by a series of war conflicts including a revolution and World War I. Then, in October 1917, he also witnessed the birth of a Communist Russia after Vladimir Lenin and the Bolsheviks seized power. For a brief period, this new government supported and encouraged artists to develop their talents. The city became a place where “new art, new music, and new drama had to be found for a new world where workers ruled” (p. 37).

The celebrated Russian choreographer Alexei Ratmansky, in his adaptation of the play, which he created for The National Ballet of Canada in 2011, has given the familiar story a fresh and compelling re-telling. Staying true to the play’s potent theatricality and poignant commingling of romance and

“Nevsky Prospect” gives us a view of the city of St. Petersburg. The majority of the story takes place on Nevsky Prospect, which appears to be a central place in St. Petersburg. This location gives readers insight into the daily lives and different types of people of the city. Being the center of the commercial and cultural life of the city, it attracts people from different classes and countries. People from all walks of life convene there to go about their daily activities, and

Class structure has always been a dividing factor in plays, as well as in real life. Characters must fit into societal norms if they want to be respected and loved. In “The Importance of Being Earnest” by Oscar Wilde and “The Cherry Orchard” by Anton Chekhov, characters must lose their personal identities to fit the rigid norms of society so that they can have romantic relationships. In “The Importance of Being Earnest,” Ernest, or rather, John, struggles to fit into the class that he has tried so hard to obtain.

It is his education in the Soviet boarding school that introduces Sabitzhan to the idea of controlling people via radio waves to create what Coombs calls a “dystopian, thoroughly deracinated modernity” (52). Aitmatov’s protagonist, by comparison, is shown to hold the true spiritualistic values of his ancestors. Coombs parallels Aitmatov’s text to Russian village prose, in its “narratives of nostalgia [which] rehearsed the trauma of Soviet modernization, whose manifestations were typically cast as the large-scale construction projects entailed in the NTR (scientific-technical revolution) and the GES (hydroelectric station) program” (51). Thus, following the tradition of Russian village prose, Aitmatov, through a portrayal of the extreme modernization

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…” .

Like many works of literature, One Day in the Life of Ivan Denisovich may be seen as a social commentary on the Soviet Union. The

A “traditional melodrama affair stock, heroic characters, full of action and high-sounding phrases”, that is how Chekov would describe the state of Russian theatres during his time. (Borny, 2006) These usual themes presented in plays are the types Chekhov dislikes as these subjects do not follow the cornerstone belief of his artistic credo: ‘Literature is called artistic when it depicts life as it actually is. Its purpose is truth, honest and indisputable.'(Borny,2006) This triviality of the late nineteenth-century which has neither vision nor form and seemed to have no connection with real life is what Chekhov mostly objected.

Chekhov admirably positions the audience to recognise how the carefully chosen settings accompany the characters’ emotional evolution, together with the development of their affair throughout the story. At Yalta, a vacation spot of alleged immorality, Gurov and Anna are allowed the freedom to act without the supervision of their controlling spouses. Moreover, the resort is densely packed with romantic elements—the scent, the grasshoppers, the heat and the sea—which could be argued to conspire for the affair to begin. Gurov is at first portrayed as insensitive to Anna’s consternation, but as he gradually grows more affectionate to her readers are shown the beginning of his dawning. The hustle and bustle of Moscow does not erase Anna from his mind, and Gurov struggles to understand his own emotions against a backdrop of debauchery. In the unnamed town of S-, readers discover the recurring motif of greyness which exemplifies the feeling of entrapment shared by the characters. The colour is to be found

Kate Chopin uses a natural imagery of class in her short story “Ripe Figs” by using setting, vocabulary/accent and metaphors showing she was part of the lower class.

Many times in life we are caught between what is expected of us and what we desire. In Tolstoy’s War and Peace Natasha Rostov faces an internal conflict between her passion for love and the social role she plays in society as a member of the wealthy Rostov family. Throughout the novel the Rostov family is portrayed as a loving, friendly, and high-class family, Natasha, the youngest girl in the family, is expected to live up to a set of social standards as she courts with other members of the community, but she becomes troubled as she goes out to find herself. As Natasha transitions from a child to a young lady she has to decide between whether she will live her life devoted to her passion for love or her responsibilities within society.

of their artistic commitments forms Chekhov’s artistic manifesto. Along the way, Chekhov explores and questions the idea of the “superfluous man” on his own terms.

The book Forty Stories, by Anton Chekhov and Robert Payne, explores many short stories about the trials and tribulations of medieval day Russians with their government and everyday actions, and the differences in class in their society. These stories range from funny and irony, like the story Joy, to a classic Cinderella love story, Green Scythe, to sad Government stories, like Sergeant Prishibeyev. The differences in class are very large and are most attributed to the government that is breathing down everyone's neck.

This encounter between the two mentalities represents Russia’s conflict with itself and Europe, as well as, Tatyana’s own predicament: whether to purpose her won romantic dreams or sacrifice herself in the traditional Russian way. Onegin is attracted to her “wild” nature, which historian, Willard Sunderland contends Russian’s high culture found “wild” nature commendable and aesthetic intriguing, especially by the “wild beauties”. However, Onegin rejects Tatyana’s love. Though he finds her intriguing, his snobbery senses sees her as a naïve country girl. This point out he is tempted by her wildness, but dares not to involve himself with someone below his standards of cultured. The negative view of countryside was “crude” and “naïve” realm

  Anton Chekhov's The Cherry Orchard projects the cultural conflict of the turn of the twentieth century of Russia. With a historical allusion, Chekhov exhibited the changing Russia with "slice of life" in his play. The Cherry Orchard is not only a depiction of Russian life but also an understatement of changing traditional value. Cultural conflict itself is an abstraction. To explain it, it is the traditional culture that is unable to resist the invading one. In the play, each character has his or her own personality, which symbolizes their individual social levels of Russian society. But these characters distinguish themselves into two sides, which are conservators and investors;