The Spread of Naturalism in Theaters

Russia in the late 19th and early 20th century was riddled with social and economic hardships throughout the countryside and inner cities. The Russian peasant was faced with widespread poverty and poor living conditions throughout their entire life. The economic situation and the living conditions drove the peasants and working class to rebel and begin the Russian revolution that would change the face of the country and impact the world forever.

Anton Chekhov hardly restrained from writing the dreary aspects of life during his writing career. Noted as one of Russia’s most prominent realist writers of the late 19th century, Chekhov’s work ranged from critical issues concerning the mental health system in “Ward No.6” to illustrating the tiresome cycle occurring for ordinary people sensing they are incomplete with their dull, normal life in “The Lady with the Dog.” “The Lady with the Dog,” in particular portrays characters of Chekhov’s facing an unreachable desire; Gurov and Anna. This desire emulates two contrasting forces represented by the double-lives the couple lives, one being that of realism and boredom, and the other of strict passion and romanticism. Gurov and “the lady with

Aleksander Nikitenko is notable for an extraordinarily detailed dairy kept from a very early age that provides an intimate view of Russian culture during the early 1800s. Aleksander’s written account, Up from Serfdom, offers a first-hand account of Russian history, making a rather insightful contribution to slave literature. This book is among one of the very few autobiographies ever written by a pre-existing serf. Despite being a bright child, Nikitenko was nevertheless one of the three hundred thousand serfs that were the personal property of the Sheremetiv family in Voronezh Province, whom possessed legal authority to dispose of the serfs as they wished. Nonetheless, through a remarkable turn of events, Aleksander, unlike other serfs

Within this essay I will look at how I as a director will approach directing Chekhov, commenting on how I went about choosing the sections of the script I wish to use, why I chose these sections and how. I will then reference Katie Mitchell’s twelve golden rules on working with actors to demonstrate how I will approach my rehearsals and working with the actors. I will then go on to mention how and where the piece will be performed, continuing on to how I will use there lighting, sound and setting finishing with costume.

In the late 19th century Russia had been notably behind Europe economically, they weren’t in possession of the modern farming technologies that could efficiently provide for a large country. As a result 90% of the Russian population were peasants (Massey, 4). The serfs lived in deep poverty; they didn’t have the appropriate apparatus to produce enough crops and most of their landlords had unbelievably high demands. In an effort to reform the economy’s recession tsar Alexander II liberated the serfs. However this created more bad for both the serfs and the nobles. In the beginning the serfs saw this is a great victory and another reason to be thankful for their tsar. But as timed pass by the peasants saw this life of liberty and freedom to

In the 19th and 20th century, realism in theatre was a common occurrence. Realism is presenting a person, thing, or event in its true colors (“Realism”). Even throughout the Great Depression, Broadway and theaters managed to stay afloat. Its popularity began to surge, and there were 200 to 275 new shows coming out per year (Early 20th Century Theatre). Most of these shows were strictly for entertainment. Themes were often romantic, about happy endings and true love. However, some productions began to turn away from the stereotypes of shows during this time. In the 1920s and ’30s, shows became more extravagant and helped influence some of the most iconic American productions (Theatre of the 20th Century and Beyond). As a result, shows like

Stalins father, Besarion was born a serf. He was not allowed to leave the land and be independent. He was under total control of a lord. Many serfs tried to improve their income. Yet, the nobles always said no. Finally Czar Alexander the second was scared that he could no longer control the serfs. In 1861, he issued the Emancipation Edict,

Anton Chekhov (1860-1904) was born a year before the emancipation of serfism in Russia took place. Although he was the grandson of a serf, Chekhov was able to attend the medical school at the University of Moscow and become a physician. Chekhov started writing in order to support his family economically, becoming a master in drama and short stories. His literature is characterized by the use of colloquial language which could be understood even by the less educated and recently liberated serfs. Social change is the main theme in ‘The Cherry Orchard’, a four-act play written in 1904. In this play the different characters portray how changes in Russia after the emancipation of 1861 were taking place and although the play is set several

Stanislavski’s detailed directorial vision are almost considered templates for the creation of natural theatre. One of the priorities of natural artists and writers was to expose on stage the social life, depicting families in real contemporary situations, as in Anton Chekhov’s play The Cherry Orchard (1904). Naturalism and Realism were informed by Karl Marx’s political theories, scientific advances and growing interest in classification, medical progress and increased knowledge about diseases and the body, and Charles Darwin’s on the origin of species ( first published in 1859 .

Stephen Hoch in a study that he conducted on a small Russian village called Petrovskie makes some insightful inferences about the serf system there. In Russia, as well as Europe in the 17th century, the serfs were ?managed? in a way that more closely represented exploitation. Very little was invested in improving the state of the land that they cultivated and instead the emphasis was placed on compelling the serfs to produce more. Meanwhile the landowner merely reaped the benefits and rarely reinvested in the venture. This study is relevant because it was taking place at the same time as the Manifesto was being written.[v] The system led to a series of revolutions because as Hoch deduced, ?Serf behavior and attitudes were in fact an integrated human response to the ecological constraints at work in the society and to the inhumane degradation of being reduced to property.?[vi]

In 19th century Russian literature there was often a gender inequality depicted between the male and female characters. Women were expected to get married, start a family, and obey their husbands. Women often made sacrifices and married men they weren’t fond of in order to support their families. Anton Chekhov’s writing questions these gender relationships. The female characters have a strong presence within Chekhov’s works, and they transcend typical gender roles.

The history of theatre in the 18th, 19th, and 20th centuries is one of the increasing commercialization of the art, accompanied by technological innovations, the introduction of serious critical review, expansion of the subject matters portrayed to include ordinary people, and an emphasis on more natural forms of acting. Theatre, which had been dominated by the church for centuries, and then by the tastes of monarchs for more than 200 years, became accessible to merchants, industrialists, and the less privileged and then the masses.

    Anton Chekhov uses The Cherry Orchard, to openly present the decline of an aristocratic Russian family as a microcosm of the rapid decline of the old Russia at the end of the nineteenth century--but also provides an ominous foreshadowing of the 1917 Bolshevik Revolution in the disparate ideals of his characters, Trofimov and Lopakhin, however unintentionally. The Gayev family and their plight is intended as a symbolic microcosm of the fall of the aristocracy in society at large. Though the merchant Lopakhin is presented as the character who holds values of the new, post-aristocratic age, the student Trofimov espouses the political sentiments that will ultimately replace both the

  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;

In terms of writing and dramatic style, naturalism is a heightened form of realism. Naturalistic dramas generally follow guidelines created by Aristotle, the Greek philosopher. These rules are known as “the three unities”: action, place and time. The general rule is that the events of the play should take place in the same location over a single day. Naturalism was made popular by the French writer Émile Zola, and his principles were modified by the French for the stage in the late nineteenth-century. Zola’s rules, known as “the three principles of naturalism” formed the basis for the naturalist movement in theatre. The first principle, faire vrai, was that the play had to be realistic and be as close a study of the human condition as possible. The second principle, faire grand, was that the play had to be meaningful and each theme or event had to be of some significance. And lastly, the third principle, faire simple, was that the play had to be simple and the writer should not to clutter the play with unnecessary sub-plots or dialogue. Naturalism spread through Europe in the twentieth-century until it reached the USSR. Stanislavski, a Russian theatre producer, thought that melodrama was unrealistic and unbelievable. Therefore, he set up the Moscow Art Theatre, in which he created new rules for theatre which all of his actors had to follow. In naturalistic acting, characters had to be realistic and believable, and the costumes needed to reflect the different character’s