000			01587nam a2200241 i 4500
001			501430
003			InACL
005			20261015150434.0
008			261015s1994 xxu 0 eng d
020			_a9780805744514
020			_a0805744517
040			_aInACL _beng _erda _cInACL
082	0	4	_a891.723 _bRAY _223
100	1		_aRayfield, Donald _eauthor
245	1	4	_aThe Cherry Orchard : _bCatastrophe and Comedy / _cDonald Rayfield.
264		1	_aNew York : _bTwayne Publishers, _c1994
300			_axiv, 146 p. :
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
520			_aFor decades after its first performance in 1904, Anton Chekhov's The Cherry Orchard fomented controversy among producers, actors, critics, and audiences. Along with its intrinsic textual richness, linguistic power, and subtlety, the play is saturated with many different, apparently incompatible, elements; it constantly shifts from comedy to pathos, its language concomitantly oscillating from music hall vulgarity to prose poetry.Chekhov assigned a personal way of speaking to each character, divorcing consequence from action, cause from effect. Despite the controversy generated by its paradoxical nature, however, The Cherry Orchard has become a milestone in twentieth-century drama.. In this astute analysis of Chekhov's last play, Donald Rayfield argues that The Cherry Orchard can be best understood when read as a culmination of the dramatist's major plays, particularly The Seagull
650		0	_aChekhov, Anton Pavlovich, 1860-1904
999			_c634205 _d634205