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Chekhov in English
1998 2008
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Northgate Books
Oxford, 2008
i
Anton Chekhov in English
1998 • 2004 • 2008
Compiled and edited by
Peter Henry
This bibliography was prepared for publication in association with Robert
Reid and Joe Andrew, joint editors of Essays in Poetics, which was
published at the University of Keele, Keele, UK, from 1976 to 2006.
Northgate Books. Oxford
2008
i
Also published by Northgate Books:
Vsevolod Garshin at the Turn of the Century. An International
Symposium in Three Volumes. Edited by Peter Henry, Vladimir
Porudominsky and Mikhail Girshman (2000).
This bibliography is accessible on the Neo-Formalist Circle page
of the BASEES (British Association for Slavonic and East
European Studies at http://www.basees.org.uk/sgnfc.html
This is a private publication. Free copies are available from
Northgate Books, 50 Collinwood Road, Risinghurst, Oxford
OX3 8HL UK, or from Professor Peter Henry at the same
address.
Free copies are also obtainable by telephone: 44 (0) 1865 744 602
or by e-mail: [email protected]
ii
This modest publication is dedicated to the memory of
Georgette Lewinson-Donchin, a renowned authority on
Russian literature, an inspiring and supportive teacher and
generous friend, who sadly passed away in February 2008.
Georgette will always be remembered with much affection,
admiration and deep gratitude.
iii
Acknowledgements
It is my pleasant task to record my gratitude to the many people who have
helped me with this bibliography: in the first place to Gordon McVay, Senior
Research Fellow at Bristol University and a Chekhov specialist; likewise to
Harvey Pitcher, Chekhov scholar and translator. Harvey lives in Cromer on
the North Norfolk coast. Nick Worrall, formerly Principal Lecturer (English
and Drama), Middlesex University, London, supplied data of articles and
reviews from the worlds of theatre and dramatic scholarship. Robert Reid,
joint editor of Essays in Poetics, University of Keele, provided useful editorial
advice.
In her well-known generous manner, Dr Georgette Donchin, Emeritus
Reader at the School of Slavonic and East European Studies, London
University, presented me with first editions of all twelve elegant volumes of
Constance Garnett’s translations of Chekhov’s stories and plays. They proved
invaluable for creating this bibliography.
My thanks go to the persons who gave me much bibliographical and
technical assistance, chief among them Helen Buchanan, Principal Assistant
Librarian (Reader Services) at the Taylor Institution Library, Oxford
University; to Nick Hearn, Assistant Librarian and Slavonic Subject Specialist
at the Slavonic Annexe of the Taylor Institution Library, and his colleagues. I
was also assisted by the late Louise Ann Boyle, Secretary of the Slavonic
Studies Department of Glasgow University.
Assistance was also received from Moscow friends and colleagues:
Vladimir Borisovich Kataev, Professor of Russian Literature at MGU,
Alevtina Pavlovna Kuzicheva (Institute of the History of Art), Galina
Nikolaevna Kurokhtina (Pushkin Institute of Russian), Serafima Alekseevna
Khavronina (Friendship University), Tatiana Vil´iamovna Kovalenko (a
postgraduate of MGU’s Philological Faculty), and Alla Vasil´evna Khanilo
(Chekhov Museum in Yalta).
I am deeply grateful to Gabriel Iwnicki, Technical Author, Oxford, for
being most generous with his time and his expertise. But for his unswerving
support, Anton Chekhov in English 1998 • 2004 • 2008 would never have seen
the light of day.
Oxford. March 2008.
Peter Henry
Responsibility for any errors and major omissions is entirely my own.
iv
Contents
I. 1998 – 2004
Pages
Acknowledgements
iv
Contents
1
Abbreviations. A note on editorial conventions
2
Introduction
3
Notes to the Introduction
9
I
Translations of works by Anton Chekhov
11
II
Translators and editors unknown
29
III
Versions and adaptations
31
IV
Works based on or inspired by Chekhov
35
V
Chekhov studies
37
VI
Chekhov’s works used as teaching and study material
61
VII
Biographical material
63
VIII
Chekhov’s correspondence
63
IX
Reference works
65
X
Selected dissertations
67
XI
Book reviews
71
XII
Reviews and notices
77
Notes to Sections I – XII
83
II. 2005 – 2008
XIII
Translations, adaptations and works inspired by Chekhov 85
XIV
Chekhov studies
87
XV
Book reviews
95
XVI
Reviews and notices
97
Russian and English titles of Chekhov’s works
1
101
Abbreviations
AATSEEL American Association of Teachers of Slavic and
East European Literatures
BCP
British Classical Press
CUP
Cambridge University Press
EIP
Essays in Poetics
IMLI
Institut mirovoi literatury
L.
London
M.
Moscow
MAT
Moskovskii khudozhestvennyi teatr
MGU
Moskovskii Gosudarstvennyi universitet
N.Y.
New York
NYT
New York Times
NZSJ
New Zealand Slavonic Journal
OUP
Oxford University Press
OUP/OWC Oxford World’s Classics
RAN
Rossiiskaia Akademiia Nauk
RSC
Royal Shakespeare Company
SEEJ
Slavic and East European Journal
SEER
Slavonic and East European Review
THES
Times Higher Educational Supplement
TLS
Times Literary Supplement
UCLA
University of California at Los Angeles
UP
University Press
comp.
no., nos
trans.
compiler, compiled (by)
number(s)
translator(s), translated (by)
ed., eds editor(s)
p., pp.
page(s)
vol., vols volume(s)
A note on editorial conventions
The titles of literary and other works (including collected works) are given in
italics: Three Sisters on Hope Street; Anton Chekhov. The Complete Early
Stories. This also applies to academic and other works published in book form:
Shekspir i russkaia kul´tura; The Complete Idiot’s Guide to Windows XP.
Titles of short stories, poetry or newspaper pieces are enclosed in double
inverted commas: “The Black Monk”; “Auld Lang Syne”; “Tsunami buoy laid
in Indian Ocean”. Single inverted commas are used with titles of academic etc.
articles: ‘Constance Garnett and the modernist short story’.
2
Introduction
The present bibliography provides information on Anton Chekhov’s works
published (or republished) in English translation during the past eleven years.
The intention was to cover Chekhoviana in the English-speaking world – Great
Britain, the Irish Republic, the United States of America and Canada, Australia
and New Zealand. The bibliography contains some 500 entries, located in
sixteen thematic sections. It is not claimed that this compilation is exhaustive.1
The bibliography is intended in the first instance for persons studying Anton
Chekhov’s works in English translation, but it should also be of value for
persons studying or researching the writer’s biography and his legacy in the
Russian original. We are fortunate in having a number of recent reference
works, as well as two substantial collections of articles on Chekhov.2
The primary reason for initially selecting a period culminating in 2004 was to
commemorate the centenary of Anton Pavlovich Chekhov’s death. It was an
occasion which was widely used for commemorating the writer’s life and his
creative achievement.3 But due to the enduring growth in the interest in
Chekhov and the consequent increase in translations of his works and the
appearance of new material, it was decided to extend coverage to the first
quarter of 2008.
Anton Chekhov’s standing as one of the leading figures in world literature is
confirmed by the numerous languages into which his works (and some of his
numerous letters) have been translated, and by the many countries where his
plays are read, studied and staged. The premiere of The Seagull in English
translation took place ninety nine ago at the Royalty Theatre, Glasgow, in
November 1909. Thereafter, Chekhov’s plays became steadily established in
the British repertoire. His plays are broadcast on BBC Radio and shown on
television. Chekhov Seasons are arranged from time to time, comparable to our
Shakespeare Seasons.
Chekhov’s works are also domesticated in the USA and Canada. As in
Britain, his plays and dramatised versions of the stories are staged in theatres,
broadcast on the radio and shown on television. A number of them are on the
syllabus of high schools, colleges and universities; some of them are included in
anthologies of world literature and used in the study of dramatic technique. In
fact, over the past ten to fifteen years Chekhov’s works have become more
popular in North America than in Britain. However, in the USA the plays have
on occasion been subjected to some drastic surgery and have been presented to
the theatre-going public in scarcely recognisable form, whether as satire,
pastiche or parody, and have in some versions been treated as material for low3
brow entertainment. In some extravagant versions Chekhov’s presumed
intention, even his text, are ignored. Such free and irreverent attitudes to Anton
Chekhov suggest that the Russian writer and his works have become integrated
into American cultural life.
With some reference to this bibliography, it may be useful to provide some
general facts on the current state of Chekhoviana – the popularity of the plays
and stories, new translations, new productions, and research interest in Chekhov
as man and writer. During the eleven years under review well over a hundred
new and reissued translations (including new versions and adaptations) have
appeared in print, and some two hundred scholarly works were published
(see Section V, “Chekhov studies”, the largest of the sections, which is
supplemented by the contents of Section XIV). They include biographies,
monographs, volumes of articles and individual studies, conference papers,
researching various areas of Chekhov’s life and aspects of his art.
Sections III and IV demonstrate the extent to which Chekhov’s artistic
thought and his works have generated new creative ideas and new works. Some
of the plays have been variously transformed by the development of their
characters, whose lives are projected into an imagined future. A number of
authors have drawn their inspiration from Chekhov’s plays, like Helen Cooper
and Angela Cooper, who respectively wrote Mrs Vershinin and After Chekhov.4
Steve Dietz is the author of The Nina Variations (no less than forty-two works
are so entitled). Chekhov’s Three Sisters have been quite productive, their most
recent offspring being Diane Samuels and Tracy-Ann Oberman’s Three Sisters
on Hope Street (2008).5 In Brian Friel’s play The Yalta Game, Chekhov’s
much loved short story “The Lady with the Dog” is dramatised and set in the
Soviet post-revolutionary period, twenty years after Gurov’s and Anna
Sergeevna’s fictional lives had ended. This device has enabled the Irish
playwright to build up both external and psychological changes in their lives. If
Friel’s play lacks the delicate power of Chekhov’s story of a casual affair that
develops into a profound love, he has created a legitimate alternative, a short
imaginative play, a success in its own right.
Many literary works of the past are parables for modern times, and
Chekhov’s are no exception. Janet Suzman’s take on The Cherry Orchard is a
powerful statement on apartheid. Thomas Kilroy set his adaptation of The
Seagull on an estate in the south-west of Ireland at the turn of the nineteenth
and twentieth centuries. The tensions underlying Chekhov’s ‘comedy’ are used
to express problems inherent in Anglo-Irish relations. Gender issues are
prominent both in some modern productions and in critical studies. Such
interpretations are entirely justified in the case of the major plays and some of
the short stories, such as “The Darling” and “The Lady with the Dog”, which
are commonly viewed from a feminist standpoint.
4
The problems encountered when translating a literary work are complex and
manifold. What must obviously be aimed for is reliable, sense-for-sense
translations. Literal, word-for-word translations are by definition an
impossibility. However, notwithstanding that self-evident fact, claims for its
feasibility are regularly made. In fact, many productions are based on such
quasi-literal versions, such as a production of The Cherry Orchard, ‘a new
version by David Lan, from a literal translation by Helen Rappaport’. Many
versions and adaptations are in fact translations of translations, in which, as
mentioned above, the original text and the dramatist’s purpose – whether the
author declared such a purpose or it is implicit in the work – are only too often
disregarded and treated as commodities surplus to requirements.
Translators have to decide a number of basic points. What style and language
should they use – contemporary English, or attempt to recreate the language of
late Victorian times? How are they to deal with dialect and uneducated speech?6
Then there is the question which English he/she should use – British or
American English? It can be argued that British English continues to be the
dominant medium for translating nineteenth-century Russian literature. Which
is not to ignore the fact that over the past twenty or twenty-five years a rivalry
has arisen between advocates of British English as the superior medium and
those who favour American English versions. Chekhov scholar and translator
Michael Heim sought to ‘americanise’ the diction, postures and gestures in his
productions of Chekhov’s dramas. His method was to try his translations on the
cast of a new production, noting lines and phrases over which the actors
stumbled, or which they unconsciously converted into ‘a more natural
American’. However, it soon became clear to Heim that an americanised text
would in fact elicit the wrong kind of acting and lose the atmosphere and tone
of the Russian text. In later translations he settled for a compromise, which he
called a ‘mid-Atlantic’ idiom.7 But a reading shows that in Heim’s versions a
British English idiom predominates.
The ideal translator has a fluent command of both the language of origin and
the target language. There are native speakers who assume that ipso facto they
will produce good English translations. However, unless such persons are
familiar with the linguistic, social and cultural traditions of both nations, and
unless they are genuinely bilingual, their work is inevitably going to be flawed.
Translators should have an educated Briton or American not merely as
consultant, but as co-translator.
A particularly complex and important matter is the rendering of facts,
situations, attitudes and idiomatic language characteristic of the time when a
particular work was written. Many a translator will have problems over
conveying the point of, for instance, Gurov’s ‘progressive’ wife in “Lady with a
Dog”, who, as evidence of her modernity, has abandoned the hard sign in her
correspondence, while perversely calling her husband by the older and lofty
5
form ‘Dimitrii’, instead of the more common ‘Dmitrii’. Quite a few translators
fail to convey such ‘minor’ indicators. Among the realia of Russian life one
might look at the role of the night watchman (storozh) and the device he uses to
warn off potential burglars: stuchit storozh. Elizaveta Fen8 has him ‘tap’ (tap
what?), in Peter Carson’s translation he ‘knocks’, Hingley offers ‘bang’. Such
mistranslations leave reader and spectator bemused. The troublesome fact of the
two Russian expressions for ‘to marry’ (zhenit´sia–vyiti zamuzh) presents an
effectively intractable problem. This is borne out by Chekhov’s wistful story
“Kukharka zhenitsia”, where English titles like “Cook’s wedding”, “Cook is
getting married” miss the whole point, since they don’t indicate that Grisha uses
the ‘wrong’ word, zhenit´sia relating only to males getting married. Such
matters demonstrate the importance of being familiar with the basic facts of the
language and cultural life in Russia during Chekhov’s life. English equivalents,
or near-equivalents, have to be found. Here and elsewhere one has to resort to a
paraphrase, whereas footnotes should be avoided at all costs. Problems of this
kind run into their hundreds.
Vladimir Nabokov famously pointed out that there are four Russian words
which defy translation: poshlost´, khamstvo, meshchanin and intelligentsiia.
Semantic groups like skuka [‘boredom’], skuchat´–soskuchit´sia, skuchno etc.
could be added to Nabokov’s quartet. The problem arises when translating
“Skuchnaia istoriia”. Most translators settle for ‘boring’ – “A Boring Story”. It
must be remembered that skuka etc. carry additional, equally significant
meanings, such as the expression of sadness, loss, nostalgia, missing or longing
for a person, place or time. French ennui comes closest to conveying the
semantic and emotional breadth of skuka. A similar complexity accompanies
the semantic group durman [‘drug’], durmanit´–odurmanit´, durmanit´sia–
odurmanit´sia, words redolent of the atmosphere of Chekhov’s major plays and
many of the stories. Another untranslatable term is dacha; both ‘villa’ and
‘country house’ are wide of the mark. As in the case of words like troika, tsar,
sputnik and other Russian terms, dacha has occupied a place in the English
language for over a century and should be treated accordingly.
The translator’s troubles often begin at the very outset of his work – how to
render the title of a work. Experience has shown that a badly translated title can
suggest that the work in question is an inferior piece of writing. Take the case
of “Iarmarochnoe ‘itogo’”, one of Chekhov’s brilliant mini-stories. A major
loss, semantic and sociological, is incurred when the story’s title is lamely
rendered as “After the Fair”. The locus of “itogo” (item, in sum, total), is the
world of merchants and accountants, preparing the Russian reader for the
fractured, yet revelatory content of the story. Another instance is “Dom s
mezoninom”, which has confounded a number of translators. Whether or not
they are familiar with the term ‘mezzanine’ and what it signifies, “The house
6
with the mezzanine” happens to be correct, denoting, as it does, a particular
feature of the architecture of a specific type of house.9
Constance Black Garnett (1862-1946) was admired throughout the Anglophone world for her translations of the greater part of Russian prose and drama
of nineteenth-century literature, and her versions are still valuable now, a
century after she had produced them. Garnett used the idiom and styles of the
English middle classes of her time. Here we are concerned with Garnett’s great
achievement of introducing Anton Chekhov into the cultural worlds of Britain
and North America. In view of the growing popularity of his works, a number
of publishers viewed that interest as an opportunity for reissuing Garnett’s
translations, generally undated and in unaltered form. Others have reproduced
many of her translations of the nineteenth-century classics without taking the
trouble of attributing them to her.
During the second half of the twentieth century and up to the present, Ronald
Hingley (London and Oxford Universities) has been and continues to be one of
Britain’s leading Chekhov scholars. Decades ago he wrote the first serious
biography of Anton Chekhov and, despite a number of idiosyncrasies in his
versions, he is acknowledged as one of the successful translators of the plays
and many of the stories, assembled in nine solid volumes known collectively as
“The Oxford Chekhov”.
Regrettably, some very poor translations continue to be presented to the
British and North-American reading and theatre-going public. Marian Fell,
whose appalling renderings of Chekhov’s plays were published (and
republished) at the beginning of the twentieth century, was easily the worst
culprit. Fell’s versions abounded in elementary mistakes and revealed her total
ignorance of Russian life and culture. It’s all the more regrettable that a presentday translator has kept Marion Fell’s tradition alive. 10
Readers have to be warned about the practice of certain publishers of grossly
misusing the terms ‘complete’ and ‘undiscovered’. One comes across
collections called ‘complete stories’ containing a mere thirty stories; another
collection is titled “Complete early short stories of Anton Chekhov”. It must
have slipped Peter Sekirin’s memory that the total of Chekhov’s early stories is
five hundred and twenty-eight.11 Not to be outdone, Peter Constantine saw fit to
entitle a collection of stories “The undiscovered Chekhov”. As a matter of fact,
not one of the stories is ‘undiscovered’, since they are all published in the
Academy edition A. P. Chekhov: Polnoe sobranie sochinenii i pisem v tridtsati
tomakh (M.: Nauka, 1974-1983).
By and large, Russian dramatists have not fared well at the hands of British and
American translators. A scathing indictment of versions/adaptations used in
7
many productions of Chekhov’s plays is voiced by the Edinburgh scholar Peter
France:
Proliferation and confusion of translation reign in the plays. Throughout
the history of Chekhov on the British and American stages we see a
version translated, adapted, cobbled together for each new major
production, very often by a theatre director with no knowledge of the
original, working from a crib prepared by a Russian with no knowledge
of the stage.12
Among theatre people, Russianists and members of the theatre-going public
there are many who share this angry, disenchanted sentiment. Indeed, a
savaged text (created ‘to make the thing more interesting’) and ‘clever’
productions do a great deal of harm. A newcomer to Chekhov may well
wonder, ‘if this is all Anton Chekhov has to offer, why are his plays
celebrated round the world and considered second only to Shakespeare’s?’
Fortunately, during the past three or four decades there have been signs of a
resolution of this deplorable situation. Among relatively recent translators
Michael Frayn occupies an exceptional position. He had acquired a fluent
command of Russian in a school for linguists in the Armed Forces, which has
enabled him to convey the deeper levels and allusive qualities of Russian.
Frayn is aware that the success of a production depends to a great extent on
working with a ‘speakable’ text.13 To be sure, there are other successful
translators, for instance, Michael Heim and Laurence Senelick in the United
States and Rosamund Bartlett, Richard Peace, Gordon McVay and Harvey
Pitcher in Great Britain. With their excellent command of Russian and their
familiarity with Russia’s cultural heritage, these and other highly qualified
translators on both sides of the Atlantic offer hope for an enduring high
artistic quality of the British and American Chekhovs.
NOTE. Gordon McVay, Senior Research Fellow at the University of Bristol,
is the author of a meticulously researched two-part survey of publications that
appeared during effectively all the years covered here: ‘Anton Chekhov. The
Unbelieving Believer’ (SEER, vol. 80:1, January 2002, pp. 63-104) and ‘The
Centenary of Anton Chekhov. A Survey of Publications’ (ibid., vol. 84:1,
January 2006, pp. 83-118). Professor McVay’s research and his commentaries
are extremely valuable and can profitably be used in conjunction with this
bibliography.
8
Notes to the Introduction
1
Entries first recorded in Chekhovskii vestnik, a biannual publication produced in
Moscow State University’s Faculty of Philology, are marked with a bullet [•].
2
The publications listed below are of major importance for Chekhov studies.
i.
Reference Guide to Russian Literature. Edited by Neil Cornwell,
associate editor Nicole Christian. L., Chicago: Fitzroy Dearborn,
1998. xl + 972 pp.
ii.
Modern Drama 42:4. Special Issue: Chekhov. Edited by Ralph Lindheim.
Toronto: University of Toronto, 1999. 471-651.
iii.
The Cambridge Companion to Chekhov. Edited by Vera Gottlieb and Paul
Allain. Cambridge: CUP, 2000. xxxiii + 293 pp.
iv.
The Routledge Companion to Russian Literature. Edited by Neil
Cornwell. L.: Routledge, 2001. x + 271 pp.
v.
Chekhov 2004. Chekhov Special Issues in Two Volumes. Edited by Joe
Andrew and Robert Reid. Keele, 2005 and 2006.
Vol. I. Aspects of Chekhov. EIP Publications 10. Essays in Poetics. The
Journal of the British Neo-Formalist Circle. Vol. 30. Keele, 2005. v + 253
pp.
Vol. II. Chekhov and Others. EIP Publications 11. Essays in Poetics. The
Journal of the British Neo-Formalist Circle. Vol. 31. Keele, 2006. vi + 368
pp.
3
Such as the Chekhov Centenary Festival “Chekhov the Immigrant. Translating a
Cultural Icon” held in October 2004 at Colby, Waterville, Maine. Organized by
Professors Julie W. de West Sherbinin and Michael Finke.
4
Helen Cooper portrays Lieutenant-Colonel Vershinin’s wife, an ‘absent
character’ in Three Sisters, while Angela Barlow wrote and plays Olga Knipper,
Chekhov’s widow, ten years after the writer’s death.
5
Three Sisters on Hope Street is set in Liverpool and is a contribution to the city’s
celebrations on being the Cultural Capital of Europe in 2008. The first
performance took place at the Everyman Theatre, Liverpool, on 25 January,
2008.
6
These issues are dealt with, for instance, in The Oxford Guide to Literature in
English, edited by Peter France. Oxford: OUP, 2000. xxii + 656 pp.
9
7
Anton Chekhov. The Essential Plays. Translated, with an introduction and notes
by Michael Henry Heim. N.Y.: The Modern Library. 2003. xx + 264 pp.
Another American translator refuted the assumption that British English was the
correct language to be used for translating Chekhov. ‘For a long time we tended
to think he spoke the language of Shaw and Galsworthy and we tended to equate
his characters with theirs.’ (from Paul Schmidt’s introduction to his 1992 edition
of Three Sisters).
8
Elizaveta Fen’s translations of Chekhov’s plays were widely used from the 1950s
to the 1970s. Despite a number of idiosyncrasies, her edition, Anton Chekhov:
Plays (first published by Penguin in 1954), was welcome, since the translation are
of a generally high standard. The volume went through several reprints, the sixth
of which appeared in 1970.
9
Some translators give this story the title “The house with a mansard”. An
analogous mistranslation, “The house with an attic”, also exists.
10
Kornei Ivanovich Chukovskii, the pioneering literary scholar and translator,
wrote trenchant comments on poor versions wherever he found them. His
castigations of Fell’s slovenly offerings are recorded in his groundbreaking work
on literary translation Vysokoe iskusstvo (A lofty art). (K. I. Chukovskii: Sobranie
sochinenii III. M.: Khudozhestvennaia Literatura, 1966, 240-41.)
The ‘present-day translator’ is Peter Sekirin, who rendered “Skvernaia istoriia
Nechto romanoobraznoe”, the title of one of the early stories, into the totally
meaningless “Bad story (from a novel)”, and evidence of Sekirin’s inadequate
command of Russian. (See The Complete Early Short Stories of Anton Chekhov.
“He and She” and other stories, translated by Peter Sekirin. Vol. I. 1880-1882.
Toronto: Megapolis Publishers, 2001.)
11
Something similar is true of Richard Pevear and Larissa Volokhonsky, whose
Complete Short Stories also amount to thirty.
12
The Oxford Guide to Literature in English Translation, p. 600.
13
Some producers go too far in this direction, like Tom Stoppard in his version of
The Seagull (1999). The text is printed in this ‘natural-speakable style’, with
whole phrases slurred or garbled. Anton Chekhov’s views on similar efforts ‘to
make it real’ are well known.
10
I. 1998 – 2004
I. Translations of works by Anton Chekhov
1
Andrew, Joe
Selected Stories. Introduction and notes by Joe Andrew. Ware (Herts,
UK): Wordsworth Classics, 2002. xviii + 188 pp.
Overseasoned; The night before Easter; At home; Champagne; The
malefactor; Murder will out; The trousseau; The decoration; The man in
a case; Little Jack; Dreams; The death of an official; Agatha; The beggar;
Children; The troublesome guest; Not wanted; The robbers; Lean and fat;
The head gardener’s tale; Hush!; Without a title; In the ravine.
2
Aplin, Hugh; Fiennes, Williams
Three Years. Translated by Hugh Aplin. Foreword by William Fiennes.
L.: Hesperus Press, 2004. xv + 95 pp.
3
Aplin, Hugh; Bernières, Louis de
The Story of a Nobody. Introduced and translated by Hugh Aplin. With a
foreword by Louis de Bernières. L.: Hesperus Press, 2002. xviii + 99 pp.
4
Bartlett, Rosamund
“About Love” and Other Stories. Translated with an introduction and
notes by Rosamund Bartlett. Oxford, N.Y.: OUP/OWC, 2004. xxxiv +
211 pp.
The huntsman; On the road; The letter; Fortune; Gusev; Fish love; The
black monk; Rothschild’s violin; The student; The house with the
mezzanine; In the cart; The man in a case; Gooseberries; About love; The
lady with the little dog; At Christmas time; The bishop.
5
Bates, Evan
Best-loved Short Stories. Flaubert, Chekhov, Kipling, Joyce, Fitzgerald,
Poe and Others. Large print edition. Mineola, N.Y.: Dover Publications,
2004. iv + 326 pp.
Contains “The Lady with the Toy Dog”.
11
6
Carson, Peter; Gilman, Richard
Plays. Translated with notes by Peter Carson. With an introduction and
notes by Richard Gilman. L.: Penguin Books, 2002. xliii + 359 pp.
Reissued in Penguin Classics (2002).
Ivanov; The seagull; Uncle Vanya; Three sisters; The cherry orchard.
7
Cerf, Bennett; Cartmell, Van Henry
24 Favorite One-act Plays. Edited by Bennett Cerf and Van Henry
Cartmell. N.Y.: Broadway Books, 2000 (1958). 558 pp.
Contains “A Marriage Proposal”.
8
Chekhov, Anton; Suvorin, Aleksei
Tatyana Repina. Two Translated Texts. The 1888 four-act version of
“Tatyana Repina” by Alexei Suvorin and Anton Chekhov’s 1889 one-act
continuation. With an introduction and with appendices by Anton
Chekhov and Alexei Suvorin. Edited by John Racine. Jefferson, NC:
McFarland, 1999. xiv + 272 pp. Also published by Megapolis Publishers
(Toronto, 2001).
9
Coles, Robert; Coulehan, Jack
Chekhov’s Doctors. A Collection of Chekhov’s Medical Tales. Edited
by Robert Coles. Foreword by Jack Coulehan. Kent, OH: Kent State UP,
2003. xxv + 199 pp.
Intrigues; Malingerers; Excellent people; Anyuta; The doctor; The
examining magistrate; An awkward business; The princess; A nervous
breakdown; Ward no. six; The grasshopper; The head gardener’s story;
Ionitch; A doctor’s visit.
10
Columbus, Curt
Three Sisters. In a new translation by Curt Columbus. Chicago: Ivan R.
Dee, 2004. 109 pp.
11
Constantine, Peter
The Undiscovered Chekhov. Thirty-eight New Stories. Translated by
Peter Constantine. N.Y., L.: Seven Stories Press, 1998. xxi + 200 pp.
I. Sarah Bernhardt comes to town; On the train; The trial; The confession
– or Olya, Zhenya, Zoya; Village doctors; An unsuccessful visit; A
12
hypnotic seance; The cross; The cat; How I became lawfully wed; From
the diary of an assistant bookkeeper; A fool, or the retired sea captain; A
scene from an unwritten vaudeville play; In autumn; The grateful
German; A sign of the times; From the diary of a young girl; The
stationmaster; A woman’s revenge; O women, women!; Two letters; To
speak or be silent. A tale; After the fair; At the pharmacy; On mortality.
A carnival tale; A serious step; The good German; First aid; Intrigues.
II. This and that: four vignettes; Elements most often found in novels,
short stories, etc.; Questions posed by a mad mathematician; America in
Rostov on the Don; Mr. Gulevitch, writer, and the drowned man; The
potato and the tenor; Mayonnaise; At a patient’s bedside; My love; A
glossary of terms for young ladies; A new illness and an old cure. Dates
of first publications in periodicals.
12
Constantine, Peter
The Undiscovered Chekhov. Forty-three New Stories. Translated by Peter
Constantine. N.Y.: Seven Stories; L.: Turnaround, 1999 (1998). xxiii +
212 pp.
Part One. Sarah Bernhardt comes to town; On the train; The trial;
Confession – or Olya, Zhenya, Zoya; A letter; Village doctors; An
unsuccessful visit; A hypnotic seance; The cross; The cat; How I became
lawfully wed; From the diary of an assistant bookkeeper; A fool, or the
retired sea captain; A scene from an unwritten vaudeville play; In
autumn; The grateful German; A sign of the times; From the diary of a
young girl; The stationmaster; A woman’s revenge; O women, women!;
Two letters; To speak or be silent. A tale; After the fair; At the pharmacy;
On mortality. A carnival tale; A serious step; The good German; First
aid; Intrigues.
Part Two. This and that: four vignettes; Elements most often found in
novels, short stories, etc.; Questions posed by a mad mathematician;
America in Rostov on the Don; Mr. Gulevitch, writer, and the drowned
man; The potato and the tenor; Mayonnaise; At a patient’s bedside; My
love; A glossary of terms for young ladies. Dates of first publications in
periodicals.
13
Constantine, Peter; Gray, Spalding
The Undiscovered Chekhov. Fifty-one New Stories. Translated by Peter
Constantine. Foreword by Spalding Gray. L.: Duckbacks, 2002 First
published in the USA in 1998 by Seven Stories Press (N.Y.). xxv + 224
pp.
13
I. Sarah Bernhardt comes to town; On the train; The trial; Confession –
or Olya, Zhenya, Zoya; A letter; Village doctors; An unsuccessful visit;
A hypnotic seance; The cross; The collection; The cat; How I became
lawfully wed; From the diary of an assistant bookkeeper; Goat or
scoundrel; A fool, or the retired sea captain; A scene from an unwritten
vaudeville play; In autumn; The grateful German; A sign of the times;
From the diary of a young girl; The stationmaster; A woman’s revenge;
O women, women!
II. Two letters; To speak or be silent: a tale; After the fair; At the
pharmacy; A prelude to a marriage; To cure a drinking bout; On
mortality; A carnival tale; A serious step; The good German; First aid;
Intrigues; This and that: four vignettes; Elements most often found in
novels, short stories, etc.; Supplementary questions for the statistical
census, submitted by Antosha Chekhonte; Questions posed by a mad
mathematician; Bibliography; A lawyer’s romance; A protocol;
Questions and answers; America in Rostov on the Don; Heights; Mr.
Gulevitch, writer, and the drowned man;
The potato and the tenor; Mayonnaise; At a patient’s bedside; My love;
Trickery; An extremely ancient joke; Advertisement; Doctor’s advice;
A glossary of terms for young ladies; A new illness and an old cure.
Dates of first publications in periodicals.
An edited extract from the introduction was published in The Guardian
Saturday Review, 14 April 2001, on pp. 1, 3.
14
Dunnigan, Ann; Pahomov, George
Selected Stories. Translated by Ann Dunnigan, with a new introduction
by George Pahomov. N.Y.: Signet Classic, 2003. iv + 303 pp.
The confession; He understood; At sea – a sailor’s story; A nincompoop;
Surgery; Ninochka – a love story; A cure for drinking; The jailer jailed;
The dance pianist; The milksop; Marriage in ten or fifteen years; In
spring; Agafya; The kiss; The father; In exile; Three years; The house
with a mansard; Peasants; The darling.
15
Dunnigan, Ann
“Ward Six” and Other Stories. Translated by Ann Dunnigan. New
Brunswick, NJ: Transaction Publishers, 2000 (1965). Large print edition.
339 pp.
Ward six; The duel; A dull story; My life; The name-day party; In the
ravine.
14
16
Dunnigan, Ann; Brustein, Robert Sanford
The Major Plays. Foreword by Robert S. Brustein. N.Y.: New American
Library, 2001 (©1964). 382 pp.
Ivanov; The seagull; Uncle Vanya; Three sisters; The Cherry orchard.
17
Frayn, Michael; Worrall, Nick
Three Sisters. A drama in four acts. Translated from the Russian by
Michael Frayn. Commentary and notes by Nick Worrall. L.: Methuen
Drama, 2003 (1983). xciv + 108 pp.
18
Frayn, Michael; Worrall, Nick
The Seagull. Translated from the Russian by Michael Frayn.
Commentary and notes by Nick Worrall. L.: Methuen Drama, 2003
(1986). xcvii + 90 pp.
19
Frayn, Michael
Four Plays, Four Vaudevilles. Translated from the Russian and
introduced by Michael Frayn. L.: Methuen Drama, 2003 (1993). lxix +
384 pp.
The seagull; Uncle Vania; Three sisters; The cherry orchard; The evils of
tobacco; Swan song; The bear; The proposal.
20
Gardner, Janet E.
12 Plays. A Portable Anthology. Edited by Janet Gardner. Boston:
Bedford/St. Martin’s, 2003. viii + 739 pp.
Contains The Cherry Orchard.
21
Garnett, Constance Black
“The Duel” and Other Stories. Mineola, N.Y.: Dover Publications, 2003.
vi + 142 pp.
A malefactor, The kiss, The duel; Anna on the neck; The man in a case;
The darling.
22
Garnett, Constance Black
“Ward No. 6” and Other Stories. N.Y.: Barnes & Noble Classic, 2003.
xxviii + 371 pp.
The cook’s wedding; The witch; A dead body; Easter Eve; On the road;
The dependents; Grisha; The kiss; Typhus; The pipe; The princess;
15
Neighbours; The grasshopper; In exile; Ward no. 6; Rothschild’s fiddle;
The student; The darling; A doctor’s visit; Gooseberries; The lady with
the dog; In the ravine; The bishop.
23
Garnett, Constance Black; Foote, Shelby
Early Short Stories, 1883-1888. Edited by Shelby Foote. Translated by
Constance Garnett. N.Y.: The Modern Library, 1999. xix + 642 pp.
Joy; The death of a government clerk; A daughter of Albion; Fat and
thin; The bird market; The choristers; Minds in ferment; A chameleon; In
the graveyard; Oysters; The marshal’s widow; The fish; The huntsman;
A malefactor; The head of the family; A dead body; The cook’s wedding;
Overdoing it; Old age; Sorrow; Mari d’elle; The looking-glass; Art; A
blunder; Misery; An upheaval; The requiem; Anyuta; The witch; A joke;
Agafya; A story without an end; Grisha. Love; A gentleman friend; The
privy councillor; A day in the country; The chorus girl; A misfortune; A
trifle from life; Difficult people; In the court; An incident; A work of art;
Vanka; On the road; Easter Eve; The beggar; A maladvertence;
Verotchka; Shrove Tuesday; A bad business; Home; Typhus; The
Cossack; Volodya; Happiness; Zinotchka; The doctor; The runaway; The
cattle-dealers; In trouble; The kiss; Boys; Kashtanka; A lady’s story; A
story without a title; The Steppe; Lights.
24
Garnett, Constance Black; Foote, Shelby
Later Short Stories, 1888-1903. Edited by Shelby Foote. Translated by
Constance Garnett. N.Y.: The Modern Library, 2000 (1999). xvii + 628
pp.
Sleepy; The beauties; The party; The shoemaker and the devil; The bet;
A nervous breakdown; The princess; The horse-stealers; Gusev; Peasant
wives; The grass-hopper; After the Theatre; In exile; Neighbours; Terror;
The helpmate; The two Volodyas; Rothschild’s fiddle; The student;
The teacher of literature; At a country house; The head-gardener’s story;
Whitebrow; Anna on the neck; Ariadne; An artist’s story; The
Pechenyeg; At home; The schoolmistress; The man in a case;
Gooseberries; About love; Ionitch; A doctor’s visit; A dreary story; The
darling; The new villa; On official duty; The lady with the dog; At
Christmas time; The bishop; Betrothed.
25
Garnett, Constance Black; Foote, Shelby
Longer Stories from the Last Decade. N.Y.: Modern Library, 2000. xvii
+ 611 pp.
16
The duel; The wife; Ward number six; An anonymous story; The black
monk; A woman’s kingdom; Three years; The murder; My life; Peasants;
In the ravine.
26
Garnett, Constance Black; Ford, Richard
The Essential Tales of Chekhov. Constance Garnett’s translations of
twenty stories from 1886 to 1899 reproduced in unaltered form. Edited
and introduced by Richard Ford. Hopewell, NJ: Ecco Press, 2000 (1998).
xix + 337 pp.
A blunder; A misfortune; A trifle from life; Difficult people; Hush!;
Champagne; Enemies; The kiss; Kashtanka; The grasshopper;
Neighbours; Ward no. 6; An anonymous story; Peasants; Gooseberries;
About love; The Darling; The new villa; On official duty; The lady with
the dog.
27
Garnett, Constance Black; Hemon, Aleksandar; Denner, Michael
The Duel. Translated by Constance Garnett. Introduced by Aleksandar
Hemon. Notes by Michael Denner. N.Y.: The Modern Library, 2003.
xvii + 101 pp.
28
Garnett, Constance Black; Rexroth, Kenneth
Three Plays. Translated by Constance Garnett, introduced by Kenneth
Rexroth. N.Y.: The Modern Library, 2001. xiv + 187 pp.
The sea-gull; Three sisters; The cherry orchard.
29
Garnett, Edward
“The Darling” and Other Stories. Amsterdam: Fredonia Books, 2001
(1916). ix + 329 pp.
The darling; Tolstoy’s criticism on The darling; Ariadne; Polinka;
Anyuta; The two Volodyas; The trousseau; The helpmate; Talent; An
artist’s story; Three years.
30
Gill, Peter
The Seagull. A comedy. From a literal translation by Helen Molchanoff.
L.: Oberon Books, 2000. 85 pp.
31
Gwynn, R. S.
Fiction. Compiled by R. S. Gwynn. Second edition, 1998. N.Y.:
Longman. A Longman pocket anthology. xxii + 308 pp.
17
Contains “An Upheaval”, translated by Constance Garnett.
32
Han, Luna
Treasury of Classic Russian Love Stories. In Russian and English. N.Y.:
Hippocrene Books, 1998. 167 pp.
Contains “Lady with the Dog”.
33
Heim, Michael Henry
The Essential Plays. Translated, with an introduction and notes by
Michael Henry Heim. N.Y.: The Modern Library, 2003. xx + 264 pp.
The seagull; Uncle Vanya; Three sisters; The cherry orchard.
34
Hingley, Ronald 1
“Ward Number Six” and Other Stories. 1888-1903. Translated with an
introduction and notes by Ronald Hingley. Oxford: OUP, 1965.
Reissued in OUP/OWC (1998). xvii + 249 pp.
The butterfly; Ward number six; Ariadne; A dreary story; Neighbours;
An anonymous story; Dr Startsev.
35
Hingley, Ronald
“The Russian Master” and Other Stories. Translated with an introduction
and notes by Ronald Hingley. Oxford, N.Y.: OUP, 1984. Reissued in
OUP/OWC (1999). xiv + 233 pp.
His wife; A lady with a dog; The duel; A hard case; Gooseberries;
Concerning love; Peasants; Angel; The Russian master; Terror; The order
of St. Anne.
36
Hingley, Ronald
Twelve Plays. Eight Short Plays, Four Four-act Plays. Translated with
an introduction and notes by Ronald Hingley. Oxford, N.Y.: OUP, 1992.
Reissued in OUP/OWC (1999). xvi + 372 pp.
The bear; The proposal; On the highway; A tragic hero; Swan song;
The dangers of tobacco, The festivities; The wedding reception; The
seagull; Uncle Vanya; Three sisters; The cherry orchard.
18
37
Hingley, Ronald
“The Steppe” and Other Stories. Translated with an introduction and
notes by Ronald Hingley. Oxford, N.Y.: OUP, 1991. Reissued in
OUP/OWC (1998). xvii + 253 pp.
The steppe; An awkward business; The beauties; The cobbler and the
devil; The bet; Thieves; Gusev; Peasant women; In exile; Rothschild’s
fiddle; Patch; The savage; In the cart; The new villa; On official
business; At Christmas; A fragment; The story of a commercial venture;
From a retired teacher’s diary; A fishy story.
38
Hingley, Ronald
Five Plays. Translated and with an introduction by Ronald Hingley.
Select bibliography. Oxford, N.Y.: OUP, 1969. Reissued in OUP/OWC
(1998). xxxi + 295 pp.
Ivanov; The seagull; Uncle Vanya; Three sisters; and The cherry orchard.
39
Hingley, Ronald
“The Princess” and Other Stories. Translated with an introduction and
notes by Ronald Hingley. Oxford: OUP, 1965. Reissued in OUP/OWC
(1998, 1999). xviii + 246 pp.
The party; Lights; The princess; After the Theatre; Three years; The
artist’s story; Home; A case history; All friends together; The bishop; A
marriageable girl.
40
Honea, Christina; Gilroy, Mark K.
The Nightstand Reader for Men. Compiled by Christina Honea with
Mark K. Gilroy. Tulsa, OK: Mark Gilroy Communications Inc., 2002.
382 pp.
Contains “A marriage proposal” and “The huntsman”.
41
Honea, Christina; Gilroy, Mark K.
The Nightstand Reader for Women. Compiled by Christina Honea with
Mark K. Gilroy. Tulsa, OK: Mark Gilroy Communications Inc., 2002.
378 pp.
Contains “After Theatre” and “The Schoolmistress”.
19
42
Jocks, Yvonne
Witches' Brew. Edited by Yvonne Jocks. N.Y.: Berkley Books, 2002. x +
326 pp.
Contains “The Witch”.
43
Kulka, John
The Best Stories of Anton Chekhov. Edited by John Kulka. N.Y.: Barnes
& Noble, 2000. 342 pp.
Lady with the dog; Gusev; Upheaval; Neighbours; Ward no. 6; Darling;
Husband; Ariadne; Peasants; Man in a case; Gooseberries; About love.
44
Lawn, Beverley
40 Short Stories. A portable anthology. Edited by Beverley Lawn.
Boston, MA: Bedford/St. Martin’s. Second edition. 2004. xii + 546 pp.
Contains “The Lady with the Dog”.
45
Lawrence, Bernard
The Bear. A play. L.: Samuel French, 2000. 15 pp.
46
Litvinov, Ivy
Short Novels and Stories. Translated from the Russian by Ivy Litvinov.
Honolulu: University of the Pacific, 2001. 383 pp.
Death of a clerk; Chameleon; The mask; Woe; Vanka; Antagonists; Dull
story; The grasshopper; Ward no. 6; The house with the mansard;
Yonich; The man who lived in a shell; Gooseberries; The lady with the
dog; In the gully; The bride.
47
Livshin, Julia
Classic Christmas Stories. Sixteen timeless Yuletide stories. Edited by
Julia Livshin. Guilford, Conn: Lyons Press, 2003. xv + 384 pp.
Contains “Vanka”.
48
McConkey, James
To a Distant Land. Edited by James McConkey. Philadelphia: First Paul
Dry Books, 2000 (1984). 196 pp.
A translation of “Sakhalin”.
20
49
McHugh, Deborah
Classic Cat Stories. Guilford, Conn: Lyons Press, 2004. xvi + 303 pp.
Contains “Who was to blame?”.
50
McNamee, Gregory
The Mountain World. A Literary Celebration. Edited by Gregory
McNamee. San Francisco: Sierra Club Books, 2003. xix + 262 pp.
Contains “Sakhalin”.
51
McVay, Gordon; Zinik, Zinovy
Short Stories. Edited and introduced by Gordon McVay. Foreword by
Zinovy Zinik. Translated by Constance Garnett (20 stories), Harvey
Pitcher (4), Patrick Miles and Harvey Pitcher (9), Gordon McVay (1).
Illustrated by Debra McFarlane. L.: Folio Society, 2001. xxiv + 480 pp.
The death of a civil servant; Fat and thin; The huntsman; Sergeant
Prishibeyev; Misery; Easter Night; Romance with double-bass; Vanka;
The reed-pipe; Boys; Kashtanka; A lady’s story; No comment; The
beauties; A dreary story; Gusev; The grasshopper; In exile; Ward no. 6;
The black monk; Rothschild’s fiddle; The student; The house with the
mezzanine; Peasants; Ionych; Encased; Gooseberries; About love; A
doctor’s visit; On official duty; The darling; The lady with the dog; In the
ravine; The bishop.
52
Makanowitzky, Barbara Norman; Struve, Gleb
Seven Short Novels. Translated by Barbara Norman Makanowitzky and
with an introduction and preface by Gleb Struve. N.Y.: W.W. Norton,
2003 (1971). 440 pp.
The duel; Ward no. six; A woman’s kingdom; Three years; My life (the
story of a provincial); Peasants; In the ravine.
53
Manheim, Michael
The Cherry Orchard. Translated by M. Manheim. N.Y.: Dramatists Play
Service, 2001 (2000). 59 pp.
54
Mann, Emily
The Cherry Orchard. N.Y.: Dramatists Play Service, 2001 (2000). 99 pp.
21
55
Miles, Patrick; Pitcher, Harvey
Early Stories. Introduced and with notes by Patrick Miles and Harvey
Pitcher. L.: OUP/OWC, 1994. Reissued in 1999. 204 pp.
Rapture; The death of a civil servant; An incident at law; Fat and thin;
The daughter of Albion; Oysters; A dreadful night; Minds in ferment;
The complaints book; The chameleon; The huntsman; The malefactor; A
man of ideas; Sergeant Prishibeyev; The misfortune; Romance with
double-bass; The witch; Grisha; Kids; Revenge; Easter night; The little
joke; The objet d’art; The chorus-girl; Dreams; The orator; Vanka;
Verochka; A drama; Typhus; Notes from the journal of a quick-tempered
man; The reed-pipe; The kiss; No comment; Let me sleep.
56
Minnick, Michelle
The Three Sisters. Translated by Michelle Minnick. Kila, MT: Kessinger
Publishing. 2004. 100 pp.
This version of Chekhov’s play premiered on 12 November 2004 at Bryn
Mawr College, Penn. Directed by K. Elizabeth Stevens with the support
of Krystian Lupa. RESUME FOR FULL STOPS
57
Mitchell, Ken; Chase, Thomas; Trussler, Michael Lloyd
The Wascana Anthology of Short Fiction. Ken Mitchell, Thomas Chase
and Michael Lloyd Trussler (eds). Regina: Canadian Plains Research
Center, 1999. xxv + 466 pp.
Contains “Gooseberries”.
58
Mulrine, Stephen
Three Sisters. Translated and introduced by Stephen Mulrine. Drama
Classics. L.: Nick Hern Books, 2003 (2002, 2000, 1999). xxv + 99 pp.
59
Mulrine, Stephen
Uncle Vanya. Translated and with an introduction by Stephen Mulrine.
Drama Classics. L.: Nick Hern Books, 1999. xxvii + 78 pp.
60
Mulrine, Stephen
The Seagull. Translated and with an introduction by Stephen Mulrine.
Drama Classics. L.: Nick Hern Books, 2003 (2001, 2000). xx + 72 pp.
22
61
Mulrine, Stephen
The Cherry Orchard. Translated and with an introduction by Stephen
Mulrine. Drama Classics. L.: Nick Hern Books, 2001 (2000, 1997).
xxiii + 92 pp.
62
Negri, Paul
Great Russian Short Stories. Edited by Paul Negri. Mineola, N.Y.: Dover
Publications, 2003. vi +196 pp.
Contains “The Lady with the Toy Dog”.
63
Pevear, Richard; Volokhonsky, Larissa
The Complete Short Stories. Translated by Richard Pevear and Larissa
Volokhonsky. N.Y.: Bantam Books, 2000. xxv + 467 pp.
The death of a clerk; Small fry; The huntsman; The malefactor;
Panikhida; Anyuta; Easter night; Vanka; Sleepy; A boring story; Gusev;
Peasant women; The fidget; In exile; Ward no. 6; The black monk;
Rothschild’s fiddle; The student; Anna on the neck; The house with the
mezzanine; The man in a case; Gooseberries; A medical case; The
darling; On official business; The lady with the little dog; At Christmas
time; In the ravine; The bishop; The fiancée.
64
Pitcher, Harvey
The Comic Stories. Chosen and translated by Harvey Pitcher.
Introduction and notes. L.: André Deutsch, 1998. 217 pp.
He quarrelled with his wife; Notes from the memoirs of a man of ideals;
A dreadful night; From the diary of an assistant book-keeper; An incident
at law; The daughter of Albion; Foiled!; A woman without prejudices;
The complaints book; The Swedish match; Rapture; Vint; On the
telephone; Romance with double-bass; The death of a civil servant;
Overdoing it; Surgery; In the dark; Kashtanka; Grisha; Fat and thin; The
objet d’art; A horsy name; At the bath-house; The chameleon; Revenge;
The orator; The exclamation mark; Notes from the journal of a quicktempered man; A man of ideas; The siren; The burbot; The civil service
exam; Boys; A drama; The malefactor; No comment; Sergeant
Prishibeyev; Encased; The darling.
23
65
Pitcher, Harvey
The Comic Stories. Chosen and translated by Harvey Pitcher.
Introduction and notes by Harvey Pitcher. L.: André Deutsch, 2004
(1998). 218 pp.
He quarrelled with his wife; Notes from the memoirs of a man of ideals;
A dreadful night; From the diary of an assistant book-keeper; An incident
at law; The daughter of Albion; Foiled!; A woman without prejudices;
The complaints book; The Swedish match; Rapture; Vint; On the
telephone; Romance with double-bass; The death of a civil servant;
Overdoing it; Surgery; In the dark; What you nearly always find in
novels, stories etc.; The flying islands; Hard to choose a name for this
one; From the diary of a young maiden; How I entered into lawful
matrimony; The decoration; Grisha; Fat and thin; The objet d’art; A
horsy name; At the bath-house; The chameleon; Revenge; The orator;
The exclamation mark; Notes from the journal of a quick-tempered man;
A man of ideas; The siren; The burbot; The civil service exam; Boys; A
drama; The malefactor; No comment; Sergeant Prishibeyev; A living
chronology; Double-bass and flute; A rash thing to do; Cook’s being
marriaged; A mystery; The vengeance-seeker; On mortality.
66
Pitcher, Harvey; Skipper, Keith
“The Burbot [nalím].” Translated by Harvey Pitcher. Norfolk version by
Keith Skipper. Waterlog 49. December 2004 / January 2005. 17-19.
67
Poulton, Mike
Uncle Vanya. Scenes from country life. Translated by Mike Poulton. L.:
Samuel French, 2001. 49 pp.
68
Rawley, Wayne S.
The Seagull. A comedy in four acts. Translated by Wayne S. Rawley.
Seattle, WA: Rain City Projects, 2003. 40 pp.
69
[Reader’s Digest]
Great Short Stories. Selected by the editors of The Reader’s Digest.
N.Y.: Pleasantville, 2000. 799 pp.
Contains “Vanka”.
24
70
Rocamora, Carol
The Vaudevilles, and Other Short Works. Translated by Carol Rocamora.
Lyme, NH: Smith & Kraus, 1998. xi + 212 pp.
An early dramatic study; On the high road; The comedic one-act plays;
On the harmful effects of tobacco; Swan song; The bear; The proposal;
Tatyana Repina; The tragedian in spite of himself; The wedding; The
jubilee; The night before the trial.
71
Schmidt, Paul
The Plays of Anton Chekhov. A new translation by Paul Schmidt. N.Y.:
HarperCollins Publishers, 1998 (1997). 387 pp.
Swan song; The bear; The proposal; Ivanov; The seagull; A reluctant
tragic hero; The wedding reception; Festivities; Uncle Vanya; Three
sisters; The dangers of tobacco; The cherry orchard.
72
Schmidt, Paul
Ivanov. A new translation by Paul Schmidt. N.Y.: Dramatists Play
Service, 1999. 65 pp.
73
Schmidt, Paul
7 Short Farces. A new translation by Paul Schmidt. N.Y.: Dramatists
Play Services, 1999 (N.Y., L., 2003). 101 pp. Also published by W.W.
Norton as Seven Short Farces.
The bear; A reluctant tragic hero; Swan song; The proposal; The dangers
of tobacco; The festivities; The wedding reception.
74
Sekirin, Peter
The Complete Early Short Stories of Anton Chekhov. “He and She” and
other stories, translated by Peter Sekirin. Vol. I. 1880-1882. Toronto:
Megapolis Publishers, 2001. 331 pp.
75
Seltzer, Thomas
The Best Russian Short Stories. Compiled and edited by Thomas Seltzer.
Amsterdam: Fredonia Books, 2001 (1925). xvi + 299 pp.
Contains “The Darling”, “The Bet” and “Vanka”.
25
76
Steinfeld, J. J.
Anton Chekhov Was Never in Charlottetown. Stories. Wolfville, NS:
Gaspereau Press, 2000. 210 pp.
77
Suzman, Janet
The Free State. A South African response to The Cherry Orchard, using
a translation by T. Alexander. L.: Methuen, 2000. xli + 87 pp.
A production of Suzman’s play was staged by Fifth Amendment,
Birmingham Repertory Theatre, the West Yorkshire Playhouse, in 2000.
78
Volokhonsky, Larissa; Pevear, Richard
The Complete Short Novels by Anton Chekhov. Translated from the
Russian by Larissa Volokhonsky. Introduction by Richard Pevear. N.Y.:
Bantam Books, 2004 ([Everyman’s Library, 2000]). xli + 548 pp.
The steppe; The duel; The story of an unknown man; Three years; My
life.
79
Wilks, Ronald
The Kiss. L.: Penguin Books (Pocket Penguins). 2002 (1986, 1982). 55
pp.
The kiss; A visit to friends.
80
Wilks, Ronald; Clayton, J. Douglas
“Ward No. 6” and Other Stories, 1892-1895. Translated with notes by
Ronald Wilks. Introduced by J. Douglas Clayton. L.: Penguin Classics,
2002. xxxii + 331 pp.
The grasshopper; Ward no. six; Ariadna; The black monk; Murder; A
woman’s kingdom; The two Volodyas; Three years; The student.
81
Wilks, Ronald; Debreczeny, Paul
“The Lady with the Little Dog” & Other Stories, 1896–1904. Translated
with notes by Ronald Wilks. Introduction by Paul Debreczeny. L.:
Penguin Books, 2002. 352 pp.
The house with the mezzanine; Peasants; Man in a case; Gooseberries;
About love; A visit to friends; Ionych; My life; The lady with the little
dog; In the ravine; Disturbing the balance (unfinished); The bishop; The
bride.
26
82
Wilks, Ronald; Sutherland, John
The Shooting Party. Translated with notes by Ronald Wilks. With an
introduction by John Sutherland. L.: Penguin, 2004. 224 pp. Also
published under Penguin Books (L., N.Y.: Penguin Books. 2004), xxxiii
+ 199 pp.
83
Wilson, Edmund
“Peasants” and Other Stories. Selected and with an introduction by
Edmund Wilson. N.Y.: New York Review of Books, 1999 ([N.Y.:
Garden City, 1956]). 380 pp.
A woman's kingdom; Three years; The murder; My life; Peasants; The
new villa; In the ravine; The bishop; Betrothed.
27
28
II. Translators and editors unknown 2
84
Ivanoff
Nashua, NH: MesaView, 2001.
85
The Seagull
Mineola, N.Y.: Dover Publications, 1999. iii + 57 pp. Also published by
Constable (L.), 1999.
86
Uncle Vanya
Mannford, OK: University Publishing House, 2001. 54 pp.
87
Swan Song
[United States?]: The Eclectic Umbrella, 2001 (1889).
88
“The Witch” and Other Stories
Large print edition. McLean, VA: IndyPublish.com, 2001.
The witch; Peasant wives; The post; The new villa; Dreams; The pipe;
Agafya; At Christmastide; Gusev; The student; In the ravine; The
huntsman; Happiness; A malefactor.
89
The Tales of Chekhov
“The Schoolmistress” and Other Stories. McLean, VA: IndyPublish.com.
2000. 168 pp.
90
The Large Print Literary Reader
Cambridge, MA: Beach Brook Productions. Fall, 2000. 233 pp.
Contains “The Wife”.
91
The Large Print Literary Reader
Cambridge, MA: Beach Brook Productions, Spring 2001. 224 pp.
Contains “The Schoolmistress”.
92
Authors in Depth. Platinum Level
Upper Saddle, NJ: Prentice Hall Inc. 2000. 199 pp.
Contains an essay on Chekhov.
29
30
III. Versions and adaptations
93
Adamson, Samuel
The Cherry Orchard, in a new version by Samuel Adamson. L.: Samuel
French, 2000. 58 pp.
First produced by Oxford Stage Company at London’s Riverside Studios
in 2000.
94
Adamson, Samuel
Three Sisters. A version by Samuel Adamson, from an annotated and
literal translation by Charlotte Hobson. L.: Samuel French, 2000. ix +
76 pp.
95
Arratia, Euridice
‘Island Hopping. Rehearsing the Wooster Group’s “Brace Up!”.’ The
Wooster Group as a theatrical adaptation of Chekhov [The Three Sisters].
Re:Direction. A Theoretical and Practical Guide, edited and introduced
by Gabrielle Cody and Rebecca Schneider. Worlds of Performance.
2000. 332-46.
96
Coyne, Susan; Bryden, Ronald
Three Sisters. A new version by Susan Coyne, adapted from a translation
by Yana Meerzon and Dmitri Priven; with an introductory essay by
Ronald Bryden. Toronto: University of Toronto. Canadian Scholars
Press, 2003. x + 122 pp.
97
Coyne, Susan; Márton, László
Platonov. Adapted by Susan Coyne and László Márton. Winnipeg:
Scirocco Drama, 2001. 125 pp.
98
Dunai, Frank
The Parasol. Adapted from Chekhov’s novel Three Years by Frank
Dunai. Oxford: Amber Lane Press, 1999. 89 pp.
99
Fisher, James
‘Tennessee Williams’s “The Notebook of Trigorin”. Adapting The
Seagull into dramatic autobiography. Text & Presentation.’ The Journal
of the Comparative Drama Conference 21. 2000, April. 81-99.
31
100 Friel, Brian
Three Sisters. A version of the play by Anton Chekhov. The Gallery
Press, Loughcrew, Oldcastle, Co. Meath. N.Y.: Dramatists Play Service,
2000. 92 pp.
First performed in Derry in 1981; first UK performance in Chichester in
2000.
101 Friel, Brian
Uncle Vanya. A version of the play by Anton Chekhov, from a literal
translation by Una Ni. Dhubhghaill. Loughcrew, Oldcastle, Co. Meath:
Gallery Books, 1998 (1981). 86 pp. Also published by Dramatists Play
Service (N.Y.: 2000). 76 pp.
First performance in 1998 at the Gate Theatre, Dublin. First UK
performance at the Donmar Warehouse Theatre (L.) in 2002. Performed
at the BAM Theater (N.Y.) in 2003.
102 Garnett, Constance Black; Mamet, David
Motley Tales and a Play. Translated by Constance Garnett. Play adapted
by David Mamet from a literal translation by Vlada Chernomordik. 1st
New York Library collector’s edition. N.Y.: Doubleday, 1998. 387 pp.
The student; Anna on the neck; The beauties; The chorus girl; Misery; A
happy ending; The darling; The huntsman; Sleepy; Peasants; The teacher
of literature; Easter Eve; Happiness; Anyuta; The witch; The two
Volodyas; Ward no. 6; The three sisters.
103 Hampton, Christopher
Three Sisters. A version by Christopher Hampton. L.: Samuel French,
2004 (2003). 68 pp.
104 Hare, David
Platonov. Adapted by David Hare. L.: Faber & Faber, 2001. xi + 171 pp.
105 Hare, David
Ivanov. A play in four acts. Adapted by David Hare. L.: Methuen Drama,
2003 (1997). xi + 89 pp.
This adaptation was first performed at the Almeida Theatre (L.), on 7
February 1997.
32
106 Harrower, David
Ivanov. In a new version by David Harrower from a literal translation by
Helen Rappaport. L.: Oberon Books, 2002. 80 pp.
107 Lan, David
The Cherry Orchard. A comedy in four acts. A new version by David
Lan, from a literal translation by Helen Rappaport. L.: Methuen, 2000.
69 pp.
108 Lan, David
Uncle Vanya. Scenes from country life. A new version by David Lan,
from a literal translation by Helen Rappaport. L.: Methuen, 1998. xi + 62
pp.
109 Murphy, Thomas
The Cherry Orchard. Edited by Thomas Murphy. L.: Methuen Drama,
2004. 96 pp.
Murphy’s adaptation of The Cherry Orchard premiered at the Abbey
Theatre, Dublin, on 17 February 2004.
110 Peyankov, Yasen; Christensen, Peter
Ivanov. In a new translation and adaptation by Yasen Peyankov and Peter
Christensen. Chicago: Ivan R. Dee, 2001. 87 pp.
111 Poulton, Mike
The Seagull. A play. Adapted by Mike Poulton. L.: Samuel French,
c2004. 62 pp.
112 Rocamora, Carol
The Early Plays. A new translation. Translated and adapted by Carol
Rocamora. Lyme, NH: Smith & Kraus, 1999. Great translations for
actors series. xii + 243 pp.
Platonov; Ivanov; The wood demon.
113 Stoppard, Tom
The Seagull. A new version by Tom Stoppard. Plays 4. Contemporary
Classics. L.: Faber & Faber, 1999 (1997). pp. 395-471. Also published as
a separate volume by Faber & Faber in 2001. xii + 71 pp.
33
Stoppard’s version of the play was used, inter alia, in Tony Vezner’s
production, staged at Theatre of Western Springs (Chicago) in October
1999.
114 Wright, Nicholas
Three Sisters. In a new version by Nicholas Wright from a literal
translation by Helen Rappaport. L., N.Y.: Nick Hern Books, 2003. [vi +]
85 pp.
This version of Three Sisters was first staged at the National Theatre (L.)
on 2 August 2003.
34
IV. Works based on or inspired by Chekhov
115 Barlow, Angela3
After Chekhov. First performance at the Theatre Royal, Bath, in 2004.
116 Cooper, Helen4
Mrs Vershinin. Staged at the Riverside Studios (L.) in 1998 and 2000.
117 Dietz, Steven
The Nina Variations. A play. Inspired by The Seagull. N.Y.: Dramatists
Play Service, 2003. 54 pp.
118 Friel, Brian
Afterplay. Loughcrew, Oldcastle, Co. Meath: Gallery Books, 2002.
Based on the characters of Andrey Prozorov from Three Sisters and
Sonya Serebriakova from Uncle Vanya. The action is set in the Soviet
1920s.
Afterplay was first staged at the Gate Theatre, Dublin, in 2002. First UK
performance took place at the Gielgud Theatre (L.) in 2002.
119 Friel, Brian
Three Plays After: The Yalta Game; The Bear after Chekhov; Afterplay.
Loughcrew, Oldcastle, Co. Meath: Gallery Books, 2002. Also published
by Faber & Faber (L.) in 2002, and by The Modern Library (N.Y.) in
2003.
The first performance of The Yalta Game, based on Chekhov’s story
“The Lady with the Dog”, took place at the Gate Theatre, Dublin, in
2002.
120 Friel, Brian
Two Plays After: The Bear; Afterplay. Loughcrew, Oldcastle, Co. Meath:
Gallery Books, 2002.
121 Gamberoni, Elizabeth
New Chekhovs. Three short plays. L.: Juventus, 1998. 96 pp.
The Summer of the Eclipse, The Dental Surgeon, and Swansong.
35
These are dramatised adaptations of Anton Chekhov’s short stories
“Notes from the Journal of a Quick-tempered Man” and “The Surgery”.
Swan Song is a short play based on Chekhov’s story “Kalkhas”.
122 Martin, Jane
Anton in Show Business. A comedy. N.Y.: Samuel French, c2000. 85 pp.
An American backstage comedy about an all-female cast acting an illfated production of Three Sisters in San Antonio, Texas.
123 Pennington, Michael
Are You There, Crocodile? Inventing Anton Chekhov. L.: Oberon Books,
2004 (2003). 280 pp.
The script of Pennington’s one-man play is printed on pp. 231-73.
124 Rabe, David
The Black Monk. Based on an Anton Chek[h]ov story. N.Y., L.: Samuel
French, 2004. 84 pp.
125 Wet, Reza de
A Russian Trilogy: Three Sisters Two, Yelena, On the Lake. L.: Oberon.
Modern Playwrights, 2004 (2001). 215 pp.
Three Sisters Two is so named because de Wet paired it with the ‘real’
Three Sisters. The sisters get to Moscow; years later Vershinin makes
a reappearance.
36
V. Chekhov studies
126 Adler, Stella; Paris, Barry
Stella Adler on Ibsen, Strindberg and Chekhov. N.Y., L.: Random House
International. 2000. 352 pp. Also published, with a preface by Barry
Paris, by First Vintage Books (N.Y.) in. 2000. xiv + 323 pp.
A portion of this work was originally published in The Yale Review.
127 Allen, David
Performing Chekhov. L., N.Y.: Routledge. 2000. xii + 263 pp.
128 Allen, David; Ghelardi, Marco
‘Unfinished Pieces. From Platonov to Piano.’ Modern Drama 42:4.
Special Issue: Chekhov. Toronto: University of Toronto, 1999. 595-614.
129 Andreach, Robert J.
‘“The Maiden’s Prayer”. Nicky Silver’s Chekhovian Play.’ American
Drama 11:2. 2002. 47-66.
On the women characters in Three Sisters.
130 Appleford, Rob
‘No, the Centre Should Be Invisible. Radical Revisioning of Chekhov in
Floyd Favel Starr’s “House of Sonya”.’ Modern Drama 45:2. 2002. 24658.
131 Arkin, Steve
‘Mary Lavin and Chekhov. Something Autumnal in the Air.’ Studies.
An Irish Quarterly Review 88:351. 1999 (Autumn). 278-83.
132 Aronson, Arnold
‘The Scenography of Chekhov.’ The Cambridge Companion to Chekhov.
Cambridge, 2000. 134-48.
133 Baehr, Stephen L.
‘The Machine in Chekhov’s Garden. Progress and Pastoral in The Cherry
Orchard.’ SEEJ, 43:1. 1999. 99-121.
37
134 Baldwin, Jane
‘Chekhov. The Rediscovery of Realism. Michel Saint-Denis’s
productions of The Three Sisters and The Cherry Orchard.’ Theatre
Notebook. 53:2, 1999. 96-115.
135 Bartlett, Rosamund; Wachtel, A. B.
‘Sonata Form in Chekhov’s “The Black Monk”.’ Intersections and
Transportations. Russian Music, Literature and Society. Introduced and
edited by A. B. Wachtel. Evanston, IL: Northwestern UP, 1998. 58-72.
136 Beevor, Antony
The Mystery of Olga Chekhova. L.: Viking-Penguin. 2004. xvi + 300 pp.
Olga Chekhova was the writer’s niece.
137 Berlin, Normand
‘Traffic of Our Stage. Chekhov’s Mistress.’ The Massachusetts Review
41:3, 2000. 375-98.
138 Bérubé, Maurice R.
‘Why I Hate Chekhov.’ Chronicle of Higher Education 48:25. March 1,
2002. B5.
139 Birden, Lorene M.
‘Chekhov’s “The Delegate”.’ Explicator 61:3, 2003. 151-55.
140 Bloom, Harold
Anton Chekhov. Edited and with an introduction by Harold Bloom.
Modern Critical Views. Philadelphia: Chelsea House Publishers, 1999.
vii + 253 pp.
141 Bloom, Harold
Anton Chekhov. Bloom’s Major Dramatists. Philadelphia: Chelsea House
Publishers, 200l. 108 pp.
38
142 Bloom, Harold
Genius. A Mosaic of One Hundred Exemplary Minds. Edited and with an
introduction by Harold Bloom. N.Y.: Warner Books, 2002. xviii + 814
pp.
Chekhov is one of Bloom’s exemplary minds.
143 Bloom, Harold
Chekhov. Bloom’s Biocritiques. Philadelphia: Chelsea House Publishers,
2003. xiii + 152 pp.
144 Borovsky, Victor
A Triptych from the Russian Theatre. An Artistic Biography of the
Komissarzhevskys, 2001. L.: Hurst & Company. xxii + 485 pp.
145 Braun, Edward
‘From Platonov to Piano.’ The Cambridge Companion to Chekhov.
Cambridge: CUP, 2000. 43-56.
146 Braun, Edward
The Cherry Orchard. The Cambridge Companion to Chekhov.
Cambridge: CUP, 2000. 111-20.
147 Bruford, Walter Horace
Chekhov and His Russia. A Sociological Study. L.: Routledge, 1998.
([Routledge and Kegan Paul, 1948]). ix + 233 pp.
148 Burnett, Leon
‘Colour and Composition in Ibsen and Chekhov.’ Neo-formalist Papers.
Journal of the British Neo-formalist Circle. Amsterdam: Rodopi, 1998.
200-21.
A contribution to the Silver Jubilee Conference to mark 25 years of the
Neo-formalist Circle, held at Mansfield College, Oxford, on pp. 11-13
September, 1995.
39
149 Callens, Johan; Huber, Werner; Middeke, Martin
‘FinIShed Story. Elizabeth’s LeCompte’s take on time and work.’ Edited
and translated by Werner Huber and Martin Middeke. Perspectives.
Trier: Wissenschaftlicher Verlag, 1998. 143-58.
On the treatment of time and memory in Three Sisters.
150 Campbell, Stuart
Russians on Russian Music, 1880-1917. An anthology. Edited and
translated by Stuart Campbell. Cambridge, N.Y, Melbourne.: CUP, 2003.
xvi + 267 pp.
151 Carruthers, Ian
‘Suzuki Tadashi’s “The Chekhov”: Three Sisters, The Cherry Orchard
and Uncle Vania.’ Modern Drama 43:2, 2000. 288-99.
152 Chapman, Don
‘James Bernard Fagan and Chekhov.’ Theatre Notebook. A Journal of
the History and Technique of the British Theatre 56:1, 2002. 10-18.
153 Chapple, Richard L.; Efimov, Nina A.; Tomei, Christine D.
‘Happy Never After. The Works of Viktorija Tokareva and Glasnost.’
Nina A. Efimov, Christine D. Tomei, Richard L. Chapple (eds).
Lewiston N.Y.: Mellen, 1998. 7-24.
Critical essays on the prose and poetry of Slavic women. Sources in
Anton Chekhov.
154 Chudakov, Alexander
‘A Biographical Essay (29 January 1860 – 15 July 1904).’ The
Cambridge Companion to Chekhov. Cambridge: CUP, 2000. 3-16.
155 Chute, Patricia
‘Chekhov. The House in Yalta and the Final Years.’ Harvard Review 15
(Fall), 1998. 119-23.
40
156 Clayton, J. Douglas
‘Les Deux Solitudes. France, Russia, and the Problem of Love in
Chekhov’s Cherry Orchard.’ Essais sur le Discours de l‘Europe Eclatée
19, 2003. 23-32.
157 Conrad, Joseph L.
‘Turgenev–Dostoevsky–Chekhov. Three Enigmatic Heroines.’ Dostoevsky Studies. Journal of the International Dostoevsky Society 7, 2003.
89-108.
Zinaida Zasekina (in Turgenev’s story “First Love”), Nastasia Filippovna
(in Dostoevsky’s novel The Idiot), Ariadna (in Chekhov’s eponymous
story).
158 Cornwell, Neil
The Gothic-Fantastic in Nineteenth-Century Russian Literature. Edited
and introduced by Neil Cornwell. Amsterdam and Atlanta: Rodopi, 1999.
293 pp.
159 Coult, Tony
About Friel. The Playwright and the Work. L.: Faber & Faber, 2003. ixxiii + 248 pp.
Friel’s adaptation of Three Sisters is discussed on pp. 92-94, 135-37.
160 Döring, Tobias
‘Dislocating Stages. Mustapha Matura’s Caribbean Rewriting of Synge
and Chekhov.’ European Journal of English Studies 2:1, 1998. 78-93.
On affinities between J. M. Synge’s Playboy of the Western World and
Seagull and Three Sisters.
161 Dromgoole, Dominic
‘Trapped by Translation.’ Sunday Times, Culture Supplement. 8 June
2002.
Dromgoole complains that antiquated language and obsolete conventions
are still used in some British productions of foreign plays, notably of
Chekhov’s.
41
162 Dubost, Thierry; Maufort, Marc; Bellarsi, Franca
‘Irish Disconnections with the Former British Empire.’ Edited and
translated by Marc Maufort. Thomas Kilroy’s adaptation of The Seagull.
Crucible of Cultures. Anglophone Drama at the Dawn of a New
Millennium. Edited by Franca Bellarsi. Brussels: Peter Lang, 2002. 15262.
163 Flath, Carol
‘Art and Idleness in Chekhov’s “The House with a Mezzanine”.’ The
Russian Review 58:3, 1999. 456-66.
164 Flath, Carol
‘Chekhov’s Underground Man. “An Attack of Nerves”.’ SEEJ 44:3,
2000. 375-92. Reprinted in Short Story Criticism 85:1.
165 Flath, Carol
‘Delineating the Territory of Čechov’s “A Woman’s Kingdom”.’ Russian
Literature (formerly Russian, Croatian and Serbian, Czech and Slovak,
Polish Literature) 44:4, 1998. 389-408.
166 Flath, Carol
‘The Seagull. The Stage Mother, the Missing Father, and the Origins of
Art.’ Modern Drama 42:4. Special Issue: Chekhov. Toronto: University of
Toronto, 1999. 491-510.
167 Flath, Carol
‘Writing about Nothing. “Ariadne” and the Narcissistic Narrator.’ SEER
77:2, 1999. 223-39.
168 Flath, Carol; Ryfa, Juras T.
‘Escape from Idyll. Chekhov and Pushkin.’ Collected essays in honor of
the bicentennial of Alexander Pushkin’s birth. Edited by Juras T. Ryfa.
N.Y.: Mellen Press, 2000. 37-52.
169 Freeborn, Richard
‘Absurdity and Residency. An Approach to The Seagull.’ NZSJ 36, 2002.
81-88.
42
170 Freedman, John
‘Center Stage. Chekhov in Russia 100 Years On.’ Modern Drama 42:4.
Special Issue: Chekhov. Toronto: University of Toronto, 1999. 541-64.
171 French, Philip
‘Chekhov on Screen.’ The Cambridge Companion to Chekhov.
Cambridge: CUP, 2000. 149-61.
172 Gatrall, Jefferson, J. A.
‘The Paradox of Melancholy Insight. Reading the medical subtext in
Chekhov’s “A Boring Story”.’ The Slavic Review 62:2, 2003. 258-77.
173 Gilman, Richard
The Making of Modern Drama. A Study of Büchner, Ibsen, Strindberg,
Chekhov, Pirandello, Brecht, Beckett, Handke. With a new introduction.
New Haven, L.: Yale UP, 1998. ([N.Y.: Farrar, Straus and Giroux,
1974]). xvii + 292 pp.
174 Gioia, Dana
‘Anton Chekhov’s “The Lady with the Pet Dog”.’ ELF: Eclectic Literary
Forum 8:3-4, 1998. 57-59.
175 Golomb, Harai
‘Referential Reflections around a Medallion. Reciprocal art/life
embeddings in The Seagull.’ Poetics Today 21:4, 2000. 681-709.
176 Gottlieb, Vera; Allain, Paul
The Cambridge Companion to Chekhov. Vera Gottlieb and Paul Allain
(eds). Cambridge: CUP, 2000. xxxiii + 293 pp.
List of illustrations. Acknowledgements. Notes on contributors.
Chronology. Editorial notes: transliteration, translations and titles,
calendar dates. Eighteen essays. Index: transliteration, translation and
titles, calendar dates. Preface. Four appendices. Selected bibliography.
Index of works by Chekhov. General index.
Contributors. Arnold Aronson, Edward Braun, Alexander Chudakov,
Patrice Davis, Philip French, Vera Gottlieb, Leonid Heifetz, Thomas
Kilroy, Cynthia Marsh, Ian McKellen, Trevor Nunn, Emma Polotskaya,
Donald Rayfield, Laurence Senelick, Tatiana Shakh-Azizova, Anatoly
Smeliansky.
43
177 Gottlieb, Vera
‘Chekhov’s One-act Plays and the Full-length Plays.’ The Cambridge
Companion to Chekhov. Cambridge: CUP, 2000. 57-69.
178 Gottlieb, Vera
‘Chekhov’s Comedy.’ The Cambridge Companion to Chekhov.
Cambridge: CUP, 2000. 228-38.
179 Grünewald, Hazel
‘Neurotic Women or a Freudian slip(-up)? A carnivalesque reading of
female sexuality in Tri sestry and Petrushevskaia’s Tri devushki v
golubom.’ Forum for Modern Language Studies 39:3, 2003. 306-19.
180 Handley, Miriam
‘Chekhov Translated. Shaw’s use of sound effects in Heartbreak House.’
Modern Drama 42:4. Special Issue: Chekhov. Toronto: University of
Toronto, 1999. 565-78.
181 Heifetz, Leonid
‘Notes from a Director: Uncle Vanya.’ The Cambridge Companion to
Chekhov. Cambridge: CUP, 2000. 91-100.
182 Hobbs, John
‘The Burden of his Freedom. Seamus Heaney and Chekhov’s Cognac.’
Notes on Modern Irish Literature 13, 2001. 22-27.
183 Hodel, Robert
‘From Chekhov and Platonov to Prigov. The de-modalizing of
proposition.’ Essays in Poetics 26, 2001. 49-57.
184 Holland, Peter
‘“More a Russian than a Dane.” The usefulness of Hamlet in Russia.’
Life. Studies in Transpositional Aesthetics. Editors and translators
Shirley Chew and Alistair Stead. Liverpool: Liverpool UP. 1999. 31538.
The article discusses Chekhov’s satirical story “In Moscow. A Russian
Hamlet” (1891).
44
185 Hopkins, Christensen
‘Chekhov and Gerhardi. The Russian sources of Anthony Powell's
Venusberg (1932).’ English Language Notes 37:3. 2000. 62-66.
186 Hunter, Adrian
‘Constance Garnett’s Chekhov and the Modernist Short Story.’
Translation & Literature 12:1, 2003. 69-87.
187 Jones, A. Richard; Harp, Richard
‘Dramatic Interpretation as Theatrical Translation. Friel’s adaptation of
Chekhov’ [Three Sisters, Uncle Vanya]. A Companion to Brian Friel.
Edited and introduced by Richard Harp. Literary Studies (Locust Hill,
West Cornwall) 32. 2002. 31-53.
188 Karr, Justin
Contemporary Literary Criticism 51, 2002. xiii + 439 pp.
Contains an article on Chekhov’s stories.
189 Kataev, Vladimir; Benoit-Dusausoy, Annick; Fontaine, Guy
‘Chekhov (1860-1904).’ A History of European Literature. Edited with
a preface by Annick Benoit-Dusausoy and Guy Fontaine. Translated by
Michael Woof. L.: Routledge, 2000. 523-27.
190 Kataev, Vladimir; Pitcher, Harvey J.
If Only We Could Know! An Interpretation of Chekhov. Edited and
translated from the Russian by Harvey Pitcher. Chicago: Ivan R. Dee,
2003 (2002). xviii + 301 pp.
191 Katyk-Lewis, Nadezhda
‘Fragment as an Impressionist Element in the Art of Čechov.’ Russian
Literature (formerly Russian, Croatian and Serbian, Czech and Slovak,
Polish Literature) 45:1, 1999. 61-69.
192 Katyk-Lewis, Nadezhda
‘Agaf'ia. A Song about a Song.’ Canadian Slavonic Papers / Revue Canadienne des Slavistes 42:3, 2000. 331-42.
45
193 Katyk-Lewis, Nadezhda
‘Sketch as Impressionist Technique in the Prose of Čechov.’ Russian
Literature (formerly Russian, Croatian and Serbian, Czech and Slovak,
Polish Literature) 45:4, 2000. 351-65.
194 Katyk-Lewis, Nadezhda
‘Peter and Christ in “Archierej”.’ Russian Literature (formerly Russian,
Croatian and Serbian, Czech and Slovak, Polish Literature) 53:4, 2003.
387-99.
195 Keijser, Thomas
‘Čechov and the Jew.’ Dutch Contributions to the Twelfth International
Congress of Slavists, Kraków, August 26 – September 3, 1998. Slavic
Literatures and Poetics, edited by Willem G. Weststeijn, 1999, no. 34.
141-61.
196 Kelly, Aileen
Views from the Other Shore. Essays on Herzen, Chekhov and Bakhtin.
New Haven, L.: Yale UP, 1999. 256 pp.
197 Khanilo, Alla
‘Garshin and Chekhov. Letters from the Crimea.’ Vsevolod Garshin at
the Turn of the Century. An International Symposium in Three Volumes.
P. Henry, V. Porudominsky, M. Girshman (eds). Oxford: Northgate
Press. Vol. I. 252-65.
198 Kilroy, Thomas
‘The Seagull. An adaptation.’ The Cambridge Companion to Chekhov.
Cambridge: CUP. 2000. 80-90.
On Kilroy’s 1981 production of Chekhov’s play. The translation is partly
Kilroy’s own, partly Eugene K. Bristow’s (Anton Chekhov’s Plays. N.Y.,
L.: W.W. Norton, 1977).
199 King, Robert L.
‘Dramatic Worth. Rhetorical ethos and dramatic theory.’ Journal of
Theatre and Drama 5-6, 1999-2000. 197-214.
Contains a discussion of Three Sisters, Uncle Vanya and The Seagull.
46
200 Kirjanov, Daria A.
Chekhov and the Poetics of Memory. Studies on Themes and Motifs in
Literature. N.Y.: Peter Lang. 2000. x + 193 pp.
201 Kleber, Pia
‘The Whole of Italy Is Our Orchard. Stehler's Cherry Orchard.’ Modern
Drama 42:4. Special Issue: Chekhov. Toronto: University of Toronto,
1999. 579-94.
202 Komaromi, Ann
‘Unknown Force. Gothic Realism in Chekhov’s “The Black Monk”.’ The
Gothic-Fantastic in Nineteenth-Century Russian Literature. Neil
Cornwell (ed.). Amsterdam – Atlanta GA: Rodopi. 1999. 257-75.
203 Kramer, Karl D.
‘A Subject Worthy of Ayvazovsky’s Brush. Vanya’s Misdirected Fury.’
Modern Drama 42:4: Special Issue: Chekhov. Toronto: University of
Toronto, 1999. 511-18.
204 Krause, David
‘Friel’s Ballybeggared Version of Chekhov.’ Modern Drama 42:4.
Special Issue: Chekhov. Toronto: University of Toronto, 1999. 634-49.
205 Leonard, Tom
‘Translating Uncle Vanya. A Programme Note.’ Translation & Literature
12:1, 2003. 155-58.
206 Leone, Ann
‘The Missing Set. How Landscape Acts in The Cherry Orchard.’ Studies
in Twentieth-Century Literature 24:2, 2000. 283-306.
207 Levitan, Olga
‘Chekhovian Women in the Israeli Theatre.’ Maske und Kothurn. Internationale Beiträge zur Theaterwissenschaft 44:1-2, 2001 (1998). 93-100.
208 Lindheim, Ralph
Modern Drama 42:4. Special Issue: Chekhov. Edited by Ralph
Lindheim. Toronto: University of Toronto, 1999. 471-651.
47
Contributors. David Allen with Marco Ghelardi, Eric Bentley, Tom
Burvill and Andrew Hood, David Cole, Martin Esslin, Francis Fergusson
and Howard Moss, Michael C. Finke, Carol A. Flath, John Freedman,
Miriam Handley, Pia Kleber, Liza Knapp, Karl D. Kramer, David
Krause, Ralph Lindheim, Rufus W. Mathewson, Jr., Margarita
Odesskaya, David John Tulloch, Raymond Williams, Nick Worrall.
209 Long, Joseph
‘Diction and Ideology. Chekhov’s Irish Voice.’ Double Vision. Studies
in Literary Translation. Durham Modern Languages Series, 2002. 16375.
Includes a discussion of Thomas Kilroy’s production of The Seagull.
210 McKellen, Ian
‘Acting Chekhov. A Friend to the Actor.’ The Cambridge Companion to
Chekhov. Cambridge: CUP. 2000. 121-33.
211 Mclean, Hugh
‘Pamfil Chekhov. Whose Son?’. The Bulletin of the North American
Chekhov Society, XI:1, 2003. 1-6.
Reply to Donald Rayfield. The Bulletin of the North American Chekhov
Society, XI:1, 2003. 6-8.
212 Mclean, Hugh
‘Pamfil Chekhov. Whose Son?’. The Bulletin of the North American
Chekhov Society, XI:1, 2003. 6-8.
213 McMillin, Arnold
‘Chekhov and the Soviet Village Prose Writers. Affinities of Fact and
Fiction.’ Modern Language Review 93:3, 1998. 754-61.
214 McMillin, Arnold
‘Russian Music in and around Chekhov.’ Australian Slavonic and East
European Studies (formerly Melbourne Slavonic Studies), 18:1/2, 2004.
1-16.
215 McVay, Gordon
‘Anton Chekhov. “The Man with the Little Hammer”.’ L.: Folio
Magazine, Summer 2001. 12-18.
48
216 McVay, Gordon
‘Anton Chekhov. The Unbelieving Believer.’ SEER 80:1, 2002. 63-104.
217 McVay, Gordon
Three Sisters. Critical Studies in Russian Literature. L.: BCP, 2002
(1995). xviii + 129 pp.
218 Malcolm, Janet
‘Travels with Chekhov.’ New Yorker 76:1. February 21-28. 2000. 23850.
219 Malcolm, Janet
‘Three Journeys. Anton Chekhov on the Road.’ New Yorker 77:33.
October 200.
220 Malcolm, Janet
‘The Deaths of Anton Chekhov.’ PEN America. A Journal for Writers
and Readers 4:2, 2002. 150-55.
221 Malcolm, Janet
Reading Chekhov. A Critical Journey. N.Y.: Random House, 2000
(2001). 224 pp. Also published by Granta Books. L.: 2004 (2003).
222 Malko, George
‘Two Sketches by Chekhov. An Introduction (“Ideal'nyi ekzamen” and
“Kavardak v Rime”).’ Michigan Quarterly Review 37:4, 1998. 767-81.
223 Manheim, Michael
Vital Contradictions. Characterization in the Plays of Ibsen, Strindberg,
Chekhov and O’Neill. Brussels, N.Y.: PIE. Lang, 2002. 208 pp.
224 Marsh, Cynthia
‘Design on Drama. V. A. Simov and Chekhov.’ Russian Literature,
Modernism and the Visual Arts. Catriona Kelly and Stephen Lovell
(eds). Cambridge: CUP, 2000. 172-96.
49
225 Marsh, Cynthia
‘Gor'kii and Chekhov. A Dialogue of Text and Performance.’ SEER
77:4, 1999. 601-19.
226 Marsh, Cynthia
‘The Stage Representation of Women.’ The Cambridge Companion to
Chekhov. Cambridge: CUP, 2000. 216-27.
227 Mazboudi, Badia
‘Mauriac and Chekhov. Affinities and Differences.’ Tracey Barnet
(trans.). Journal of European Studies 30:3, 2000. 271-95.
228 Merlin, Bella
‘Which Came First: the System or The Seagull?’. New Theatre Quarterly
15:3 (59), 1999. 218-27.
229 Miles, Patrick
‘William Gerhardi, the Impact of Chekhov on the English Theatre.’
Slavonica (formerly Scottish Slavonic Review) 5:2, 1999. 24-31.
230 Miles, Patrick
Mikhail Gromov. Chekhov Scholar and Critic. An Essay in Cultural
Differences. Nottingham: Astra Press, 2003. viii + 132 pp.
Russian translation. Patrik Mails: Mikhail Gromov: issledovatel´ i kritik.
Esse v kontekste raznosti kul´tur. Galina Severskaia (trans.). M.: IMLI
RAN, 2004. 142 pp.
231 Miles, Patrick
‘Cheshire Cats in Theatre. A Translator and the Fringe Experience.’
The production of Sara, an adaptation of Ivanov, by a Fringe company
at the Bridewell Theatre [Edinburgh] in February 1999. New Theatre
Quarterly. 2000. 16:4 (64). 359-63.
232 Morrow, Bradford
Conjunctions 31. Radical Shadows. Bi-annual Volumes on New Writing.
Edited by Bradford Morrow. N.Y.: Annandale-on-Hudson: Bard College,
1998. 381 pp.
50
Contains a section on Chekhov.
233 Muinzer, Louis
‘The 2002 Ibsen Stage Festival at Oslo.’ Western European Stages 14:3,
2002. 71-78.
Contains a discussion of affinities and differences between Ibsen’s and
Chekhov’s dramas.
234 Nunn, Trevor
‘Notes from a Director. Three Sisters.’ The Cambridge Companion to
Chekhov. Cambridge: CUP, 2000. 101-10.
235 Odesskaya, Margarita
‘Chekhov’s Tatyana Repina. From Melodrama to Mystery Play.’ Ralph
Lindheim (trans.). Modern Drama 42:4. Special Issue: Chekhov.
Toronto: University of Toronto, 1999. 475-90.
236 O1shanskaya, Natalia L.
‘Opposition or Identification. Chekhov’s Plays on Screen.’ West Virginia
University Philological Papers 47, 2001. 69-73.
237 Oz, Amos
‘Huge Losses. On the Beginning of Chekhov’s “Rothschild’s Fiddle”.’
Partisan Review 66:2, 1999. 218-22.
238 Pahlau, Randi
‘Chekhov’s “Enemies”.’ Explicator 62:2, 2004. 94-96.
239 Parts, Lyudmila
‘Chekhov, Literature, and the Intelligentsia in Viacheslav Pietsukh’s
Stories.’ SEEJ 46:2, 2002. 301-17.
240 Pavis, Patrice
‘Ivanov. The Invention of a Negative Dramaturgy.’ The Cambridge
Companion to Chekhov. Cambridge: CUP, 2000. 70-79.
51
241 Peace, Richard
“Die drei Schwestern.” Translated from the English by Barbara Zelinski.
Interpretationen: Chechows Dramen. Herausgegeben von Bodo Zelinsky.
Stuttgart: Philipp Reclam jun., 2003. 76-102.
242 Phelps, William Lyon
Essays on Russian Novelists. N.Y.: Snova Books, 2004. 142 pp.
On Russian national character as shown in Russian fiction. Contains an
essay on Chekhov.
243 Polakiewicz, Leonard A.
‘Chekhov’s The Island of Sakhalin and Dostoevsky’s Notes from the
House of the Dead as Penological Studies.’ Canadian–American Slavic
Studies 35:4, 2001. 397-421.
244 Poliushenko, Nikolai; Khanilo, Alla
‘A. P. Chekhov in the Crimea.’ Rostov-on-Don: EMPILS, 2001. In
Russian and English.
A portfolio containing a ten-page booklet and thirteen plates.
245 Pollak, Nancy
‘Monday, Monday, Bronze Can’t Trust that Day.’ NZSJ 37, 2003. 83-90.
On Chekhov’s story “Rothschild’s Fiddle”.
246 Polotskaya, Emma
‘Chekhov and His Russia.’ The Cambridge Companion to Chekhov.
Cambridge: CUP, 2000. 17-28.
247 Pritchett, V. S.
The Pritchett Century. L.: Chatto & Windus, 1998. xxii + 577 pp.
Contains an essay from the author’s book Chekhov. A Spirit Set Free
(1988).
248 Proehl, Geoff
‘Rehearsing Dramaturgy. “Time is Passing”.’ Journal of Dramatic
Theory and Criticism 13:1, 1998. 103-12.
52
249 Rayfield, Donald
Understanding Chekhov. A Critical Study of Chekhov’s Prose and
Drama. L.: BCP, 1999. xvii + 295 pp. Also published by Wisconsin UP
(Madison WI, 1999).
250 Rayfield, Donald
‘Chekhov’s Stories and the Plays.’ The Cambridge Companion to
Chekhov. Cambridge: CUP, 2000. 203-15.
251 Rayfield, Donald
‘Whose Baby Was Pamfil?’ The Bulletin of the North American
Chekhov Society XI:1, 2003. 6-8.
252 Reid, John
‘Matter and Spirit in The Seagull.’ Modern Drama 41:4, 1998. 607-22.
253 Rice, James L.
‘Summer at the Lake with Chekhov. A Retrospect in Early Retirement.’
NZSJ 35, 2001. 1-10.
254 Rich, Elisabeth T.
‘Chekhov and the Moscow Stage Today. Interviews with Leading
Russian Theater Directors.’ Michigan Quarterly Review 39:4, 2000. 796821.
255 Rich, Elisabeth T.
‘Chekhov and the Young Spectator’s Theater.’ Slavic and East European
Performance 20, 2000. 24-37.
256 Richtarik, Marilyn
‘The Field Day Theatre Company.’ Twentieth-Century Irish Drama,
edited by Shaun Richards. Cambridge: CUP, 2004. 191-203.
Includes a discussion of affinities between Three Sisters and Friel's
version of the play.
257 Rocamora, Carol
‘Nice Russe (or Chekhov Slept Here).’ American Poetry Review 31:4,
2002. 41-44.
53
258 Roche, Anthony
Brian Friel. Anthony Roche (ed.). Irish University UP, 29:1. Special
Issue: Brian Friel, 1999. ix + 215 pp.
259 Rustin, Margaret; Rustin, Michael
Mirror to Nature. Drama, Psychoanalysis and Society. L., N.Y.: Karnac,
2002. x + 289 pp.
Contains the essay ‘Chekhov. The pain of intimate relationships.’
260 Ryfa, Juras T.
The Problem of Genre and the Quest for Justice in Chekhov’s “The
Island of Sakhalin”. Lewinston-Queenston-Lampeter: Edwin Mellen
Press, 1999. xv + 233 pp.
261 Safran, Gabriella
Rewriting the Jew. Assimilation Narratives in the Russian Empire.
Stanford: Stanford UP, 2000. xvii + 269 pp.
262 Schafer, Carol
‘The Three Sisters. Exploring the Woman Question.’ Journal of Dramatic
Theory and Criticism 16:1, 2001. 39-57.
263 Schneider, Rebecca; Cody, Gabrielle
‘Three Sisters at the Millennium’s End.’ Re:Direction. A Theoretical and
Practical Guide. Edited and introduced by Rebecca Schneider and
Gabrielle Cody. N.Y., L.: Routledge, 2002. 366-70.
This is a reprint of an article first published in The Theater Journal 49:3
(1997) on pp. 365-67.
264 Senelick, Laurence
‘A Seagull over Lake Michigan’. The Bulletin of the North American
Chekhov Society 7:1 (April) 1998. 1-2.
265 Senelick, Laurence
‘Directors’ Chekhov.’ The Cambridge Companion to Chekhov.
Cambridge: CUP, 2000. 176-90.
Followed by a selected glossary (pp. 191-200).
54
266 Shakh-Azizova, Tatiana
‘Chekhov on the Russian Stage.’ The Cambridge Companion to
Chekhov. Cambridge: CUP, 2000. 162-75.
267 Sheehy, Helen; Stainton, Leslie
On Writers and Writing. A Thousand Years of Great Writers. East
Hartford, CT: Tide-Mark, 1999. 110 pp.
Contains an essay on Chekhov.
268 Shevtsova, Maria
‘Appropriating Pierre Bourdieu’s Champ and Habitus for a Sociology of
Stage Productions.’ Contemporary Theatre Review. An International
Journal 12:3, 2002. 35-66.
Contains a discussion of Uncle Vanya.
269 Shevtsova, Maria; Callow, Simon
Dodin and the Maly Drama Theatre. Process to Performance. Foreword
by Simon Callow. L.: Routledge Publishers, 2004. xviii + 231 pp.
270 Shrayer, Maxim D.
‘Nabokov’s Textobiography. Letters and Short Story, Their relationship
with autobiography, compared to Chekhov and Bunin.’ Modern
Language Review 94:1, 1999. 132-49.
271 Smeliansky, Anatoly
‘Chekhov at the Moscow Art Theatre.’ The Cambridge Companion to
Chekhov. Cambridge: CUP, 2000. 29-40.
272 Spektor, Tatiana
‘The Orthodox Christian Subtext of Trifonov’s Allusions to Chekhov’s
“The Student” in Another Life.’ SEEJ 45:3, 2001. 473-89.
273 Sperdakos, Paula
‘Acting in Canada in 1965. Frances Hyland, Kate Reid, Martha Henry
and John Hirsch’s The Cherry Orchard at Stratford.’ Theatre Research
in Canada / Recherches Théâtrales au Canada 19:1, 1998. 35-62.
55
274 Steiner, Peter, and others
‘“The Bride” and the Parable of the Prodigal Son.’ Under construction:
Links for the site of a literary theory. Essays in honour of Hendrik van
Gorp. Dirk de Geest, Ortwin de Graef, Rita and Dirk Delabastita,
Koenraad Geldof, Rita Ghesquière and José Lambert (eds). Louvain:
Leuven UP. 2000. 133-47.
275 Stenberg, Douglas G.
‘Who Shot the Seagull? Anton Chekhov’s influence on Woody Allen’s
“Bullets over Broadway”.’ Literature/Film Quarterly 26:3, 1998. 204-13.
276 Stenberg, Douglas G.
‘Uncle Vanya Translated on 42nd Street.’ Literature/Film Quarterly 30:1,
2002. 24-28.
On the film “Vanya on 42nd Street” (1994).
277 Stroyeva, M. N.
‘Three Sisters at the MAT.’ Translated by Gabrielle Cody. Worlds of
Performance. Re:Direction. A theoretical and practical guide. Rebecca
Schneider and Gabrielle Cody (eds). N.Y., L.: Routledge, 2002. 40-48.
278 Svintsov, Vitalii
‘Faith and Unbelief. Dostoevsky, Tolstoy, Chekhov, and Others.’ John
Givens (trans.). Russian Studies in Literature. A Journal of Translations
15:3, 1999. 77-103.
279 Swift, Mark Stanley
‘The Judaeo-Christian Subtext in Chekhov’s Themes of Chance and
Suffering.’ Australian Slavonic and East European Studies (formerly
Melbourne Slavonic Studies) 15:1/2, 2001. 93-114.
An early version was presented at the AATSEEL meeting in December
1996.
280 Swift, Mark Stanley
Biblical Subtexts and Religious Themes in Works of Anton Chekhov.
Middlebury Studies in Russian Language and Literature. N.Y.: Peter
Lang, 2004. xi + 196 pp.
56
281 Tait, Peta
‘Performative Acts of Gendered Emotions and Bodies in The Cherry
Orchard.’ Modern Drama 43:1, 2000. 87-99.
282 Tait, Peta
Performing Emotions. Gender, Bodies, Spaces in Chekhov’s Drama and
Stanislavsky’s Theatre. Aldershot: Ashgate, 2003. viii + 199 pp.
283 Tracy, Robert
‘The Russian Connection. Friel and Chekhov.’ Irish University Review.
A Journal of Irish Studies 29:1, 1999. 64-77.
284 Tulloch, John
‘Going to Chekhov.’ Cultural Studies and Theatre Studies. Journal of
Dramatic Theory and Criticism 13:2, 1999. 23-55.
285 Tulloch, John; Burvill, Hood Andrew
‘Chekhov in Massachusetts. Competing Modernisms at the American
Repertory Theater.’ Modern Drama 42:4. Special Issue: Chekhov.
Toronto. University of Toronto, 1999. 615-33.
286 Turovskaya, Maya L.•
‘Knipper, Chekhov and the Chekhov Family.’ The Bulletin of the North
American Chekhov Society VII:1, 1998. 10.
This is an abridged version of the author’s article ‘Zhena velikogo
pisatelia’ [The wife of a great writer], published in “Ekran i stsena”,
35/36, 1993.
287 Vickers, Sylvia
‘Space, Genre, and Methodology in Max Stafford-Clark’s Touring
Production of Chekhov’s Three Sisters.’ New Theatre Quarterly 15:1
(57), February 1999. 45-57.
288 Weiss, Rudolf
‘Harvey Granville Barker. The First English Chekhovian?’ New Theatre
Quarterly 14:1 (53), 1998. 53-62.
57
289 Weststeijn, Willem G.
‘On the Analysis of Literary Character. Jan van der Eng’s Narrative
Mode as a Contribution to Theory of Character.’ Russian Literature
(formerly Russian, Croatian and Serbian, Czech and Slovak, Polish
Literature) 54:1-3, 2003. 415-29.
On Chekhov’s story “A Doctor’s Visit”.
290 Wood, James
The Broken Estate. Essays On Literature and Belief. L.: Jonathan Cape,
1999. xxvii + 318 pp.
Contains the essay ‘What Chekhov meant by life’.
291 Woods, Joanna
Katerina. The Russian World of Katherine Mansfield. Auckland, N.Z.;
N.Y.: Penguin Books (N.Z.), 2001. 320 pp.
A study of Mansfield’s knowledge of Russia and Chekhov’s influence on
her writing.
292 Worrall, Nick
‘Dr Chekhov’s Flight of Fancy. A Millennial Check-up on Chaika.’
Russian Theatre Past and Present. Театръ 3, 2002. 53-76.
293 Worrall, Nick
‘Stanislavsky’s Production Score for The Cherry Orchard. A Synoptic
Overview.’ Modern Drama 42:4. Special Issue: Chekhov. Toronto:
University of Toronto, 1999. 519-40.
294 Young, Stuart
‘Fin-de-siècle Reflections and Revision. Wertenbaker Challenges British
Chekhov Traditions in [Paul Claudel’s] The Break of Day.’ Modern
Drama 41:3, 1998. 442-60.
295 Young, Stuart
‘A History of Russian Drama on the New Zealand Stage. The First
Instalment.’ NZSJ 35, 2001. 157-90.
On productions of Chekhov plays in New Zealand before 1980.
58
296 Young, Stuart
‘Re-siting Chekhov on the British Stage.’ Text and Presentation. The
Journal of the Drama Conference 21 (2000, April). 69-80.
297 Young, Stuart
‘Russian Drama on the New Zealand Stage, Part II. Recent
Developments.’ NZSJ 37, 2003. 217-29.
On productions of Chekhov plays in New Zealand after 1980.
298 Zaitseva, Valentina
‘Referential Knowledge in Discourse. Interpretation of (I, you) in Male
and Female Speech.’ Slavic Gender Linguistics. Amsterdam: Benjamins,
1999. 1-26.
The language used in Diadia Vania is compared with the language in the
works of Dostoevskii and Tolstoi.
59
60
VI. Chekhov’s works used as teaching and study material
299 Birkett, G. A.; Struve, Gleb
А. П. Чехов. Рассказы. A. P. Chekhov. Selected Short Stories. Edited
by G. A. Birkett & Gleb Struve. Selected idioms and difficult constructions. Vocabulary. L.: Duckworth, 1998. [OUP, 1951. Prideaux
Press, 1977. BCP 1994]. 235 pp.
300 Henry, Peter
Чехов. Чайка. The Seagull. Select Bibliography. Notes. Topics.
Vocabulary. L.: BCP. 2002 (1993 [1965, Bradda Books]). 160 pp.
_____
301 Akers, Tim; Moore, Jerry
Short stories for students, presenting analysis, context, and criticism on
commonly studied short stories. Vol. 5. 1999. xxii + 417 pp.
Contains “The Lady with the Pet Dog”.
302 Bhathnagar, Y. C.; Akella, R. D. •
Russian case system. A reference grammar based on selected stories of
Anton Chekhov. New Delhi: Prakashan sansthan. 2001. 242 pp. In
English and Russian.
303 Camus, Albert
“The Plague”, with related readings. N.Y.: Glencoe/McGraw-Hill. 2002.
iii + 215 pp. For use in teaching literature to high school students.
Contains “Misery”.
304 Christ, Henry I.
Themes in American and world literature. N.Y.: Amsco School
Publications, 1998. xv + 719 pp.
Contains “The Lottery Ticket”.
305 Christensen, Maggie
‘Re-examining the ‘coldly objective’ point-of-view in Chekhov’s “The
Bet” and “A Trifle from Life”.’ Eureka Studies in Teaching Short Fiction
3:1, 2002. 53-63.
61
306 Cooper, Molly; Bledsoe, Glen and Karen
Classic Scary Stories. Molly Cooper, Glen and Karen Bledsoe (eds).
Elementary and junior high school. Los Angeles, CA: Lowell House
Juvenile, 1999. 493 pp.
Contains “The safety match”.
307 Galens, David
Drama for Students, Presenting analysis, context, and criticism on
commonly studied dramas. Vol. 5. Edited by David Galens. Detroit: Gale
Group, 1999. xxi + 331 pp.
Contains Uncle Vanya.
308 Sauser, Laura; Reece, Paula J.
Spanning miles of time and centuries of ocean. Classic stories from
American literature. Edited by J. Paula Reece. Logan, Iowa: Perfection
Learning Corp., 2002. 180 pp.
Contains “The Bet”.
309 Sheets, Anna J.
Short story criticism. Excerpts from criticism of the works of short story
fiction writers. Vol. 28. Detroit: Gale Research Inc., 1998. xii + 549 pp.
Contains a section on Anton Chekhov.
310 Smith, Jennifer
Short stories for students, presenting analysis, context and criticism on
commonly studied short stories. Vol. 12. Edited by Jennifer Smith.
Detroit: Gale Group, 2001. xx + 327 pp.
Contains “The Darling”.
311 Smith, Jennifer; Brown, Jason, and others
Short stories for students, presenting analysis, context and criticism on
commonly studied short stories. Vol. 14. Edited by Jennifer Smith, Jason
Brown and others. Detroit: Gale Group, 2002. xx + 293 pp.
Contains “Gooseberries”.
62
VII. Biographical material
312 Bartlett, Rosamund
Chekhov. Scenes from a Life. N.Y., L.: Free Press, 2004. 432 pp.
313 Callow, Philip
Chekhov. The Hidden Ground. A Biography. L.: Constable, 1998.
Chicago: Ivan R. Dee, 1998. xiv + 428 pp.
314 Pritchett, V. S.
Chekhov. A Biography. L.: Chatto & Windus, 1998 (1990). x + 227 pp.
315 Rayfield, Donald
Anton Chekhov. A Life. N.Y.: Henry Holt, 1998. L.: Flamingo, 1998.
(L.: HarperCollins, 1997). xxiii + 674 pp.
VIII. Chekhov’s correspondence
316 Bartlett, Rosamund; Phillips, Anthony
Anton Chekhov. A Life in Letters. Edited by Rosamund Bartlett.
Translated by Rosamund Bartlett and Anthony Phillips. L.: Penguin
Books, 2004. lxvi + 551 pp.
317 Benedetti, Jean
Dear Writer, Dear Actress. The Love Letters of Anton Chekhov and Olga
Knipper. Selected, translated and edited by Jean Benedetti. L.: Methuen,
1998 (1996). xvi + 292 pp.
63
64
III. Reference works
318 Cornwell, Neil
Reference Guide to Russian Literature. Edited by Neil Cornwell,
associate editor Nicole Christian. L., Chicago: Fitzroy Dearborn, 1998. xl
+ 972 pp.
On Chekhov, 213-22.
319 Cornwell, Neil
Routledge Companion to Russian Literature. Edited by Neil Cornwell.
L.: Routledge, 2001. x + 271 pp.
On Chekhov, l36-49.
320 McVay, Gordon
‘Anton Pavlovich Chekhov. 1860-1904. Dramatist and short-story
writer.’ Reference Guide to Russian Literature. L., Chicago: Fitzroy
Dearborn, 1998. 215-16.
321 McVay, Gordon
‘The Seagull.’ Reference Guide to Russian Literature. L., Chicago:
Fitzroy Dearborn, 1998. 220-21.
322 McVay, Gordon
‘The Cherry Orchard.’ Reference Guide to Russian Literature. L.,
Chicago: Fitzroy Dearborn, 1998. 223-24.
323 O’Connor, Katherine Tiernan
‘A Boring Story.’ Reference Guide to Russian Literature. L., Chicago:
Fitzroy Dearborn, 1998. 218-19.
324 Rayfield, Donald
‘The Steppe.’ Reference Guide to Russian Literature. L., Chicago:
Fitzroy Dearborn, 1998. 216-17.
325 Rayfield, Donald
‘Ward Six.’ Reference Guide to Russian Literature. L., Chicago: Fitzroy
Dearborn, 1998. 219-20.
65
326 Rayfield, Donald
‘The Lady with the Dog.’ Reference Guide to Russian Literature. L.,
Chicago: Fitzroy Dearborn, 1998. 221-22.
327 Rayfield, Donald
‘Three Sisters.’ Reference Guide to Russian Literature. L., Chicago:
Fitzroy Dearborn, 1998. 222-23.
66
IX. Selected dissertations
328 Allman, Melissa R.
Undermining the Realist Tradition. Chekhov and the Mauvists.
MA, Ohio State University. 2001.
329 Baker, Jennifer Susan
Chekhov on the Stage and Screen. From “Platonov” to “Unfinished Piece
for Player Piano”.
MA, University of Oregon. 1999.
330 Boyd, Brian Robert
Chekhov and Impressionism. A Visual Approach to The Cherry Orchard.
Performed November 14-18, 2001, at the Mago Hunt Theatre, University
of Portland.
MFA, University of Portland. 2002.
331 Cherchesova, Olga Olegovna
From Realism to Minimalism and Back Again. A Comparison of Anton
Chekhov and Raymond Carver.
MA, University of Northern Iowa. 2003.
332 Chilewska, Anna
The Assessment of Translations. Examples from Chekhov, Zoshchenko
and Sienkiewicz.
MA, University of Alberta. 2000.
333 Compton, Mary Katherine
Straying towards the Promised Land. Abjection and Transgressive
Wandering in the Short Fiction of Eudora Welty and Anton Chekhov.
PhD, University of Mississippi. 2000.
334 Dixon, R.
From Iconoclast to Traditionalist. A Study of Anatolii Efros’s
Productions of Chekhov, Gogol and Turgenev.
PhD, University of Nottingham. 2002.
67
335 Dobson, Sasha R.
My Truce with Olga. An Account of the Preparation and Performance of
Olga in Three Sisters by Anton Chekhov.
MFA, University of Nebraska–Lincoln. 2000.
336 Dowell, Joe Herbert
The Monodrama, as Represented by Dominick Argento’s “A Water Bird
Talk”.
Reference is made to Chekhov’s vaudeville “On the Harmfulness of
Tobacco”.
MA, University of Texas. 1999.
337 Fang, Hongyu
Heroines in Chekhov’s Stories.
MA, University of Oregon. 2003.
338 Grünewald, H.
Rethinking Dramatic Action on the Basis of an Intertextual Reading
of Tri sestry and Vishnevyj sad, Kharms’s Elizaveta Bam and
Petrushevskaia’s Tri devushki v golubom in Relation to the Theatre of the
Absurd.
PhD, University of Nottingham. 2000.
339 Habermehl, Rachel
Transcendental Realism. Idealism in Tolstoy, Dostoevsky, and
Chek[h]ov.
MA, Northern Michigan University. 2001.
340 Halla, Alison
Realism and Mystic Faith. A Study in Dostoevsky, Tolstoy, and
Chekhov.
BA, California Polytechnic State University. 2003.
341 Heintzelman, Greta D.
“More Fond than I Intended.” Tennessee Williams (re)imagining Anton
Chekhov’s The Seagull.
MA, Trinity College, Washington D. C. 2003.
68
342 Kaderabek, Sarah
Beyond Fidelity. The Works of Gogol´, Dostoevskii and Chekhov in
Soviet and Russian Film.
PhD, McGill University. 2000.
343 Kling, Kristopher Gordon
Speak from the Image. An Account of the Preparation and Performance
of Tusenbach in Three Sisters by Anton Chekhov.
MFA, University of Nebraska–Lincoln. 2000.
344 Klioutchkine, Konstantine
Russian Literature and the Press, 1860-1914.
PhD, UCLA. 2002.
345 Lumbard, Francine H.
A Director’s Approach to Anton Chekhov’s Three Sisters.
MFA, Baylor University. 2003.
346 Mangone, Christine
Transforming the Theatric Event. Chekhov on the American Stage,
1977- 2003.
PhD, UCLA. 2003.
347 Melvin, D. C.
A Discussion of the Short Fiction of Anton Chekhov and Katherine
Mansfield as Manifestations of Literary Impressionism.
MPhil, Birmingham University. 2002.
348 Merkel, Matt S.
Reinventing Chekhov. The Jjourney from Realism to Impressionism in
Selected Plays of Anton Chekhov.
MA, Regent University. 1998.
349 Mitchell, E.
The Reception of Chekhov in the UK, with Particular Reference to 1997–
2001.
69
MPhil, University of Keele. 2003.
350 Reti, Marina C.
Beyond the Orchard. Production Design for Anton Chekhov’s The
Cherry Orchard.
BA with Distinction, Amherst College. 2001.
351 Safran, Gabriella
Narratives of Jewish Acculturation in the Russian Empire. Bogrov,
Orzeszkowa, Leskov, Chekhov.
PhD, Princeton University. 1998.
70
XI. Book reviews
352 Bartlett, Rosamund
Gordon McVay: Anton Chekhov. Short Stories (2001). Reviewed in
Slavonica 9:1, 2003. 53-54.
353 Batley Susan
Donald Rayfield: Chekhov. A Life (1997). Reviewed in NZSJ 32, 1998.
319-22.
354 Bayley, John
Peter Sekirin: The Complete Early Stories I (2001). Reviewed in The
New York Review of Books 48:19, 29 November 2001. 18-20.
355 Bayley, John
‘Glittering splinters of genius.’ The Spectator, 286 (2001). 52.
On Peter Constantine: The Undiscovered Chekhov (2001).
356 Byatt A. S.
‘Secrets and lives.’ The Guardian, 2 February 2002.
On Janet Malcolm: Reading Chekhov. A Critical Journey (2002).
357 Callow, Philip
‘His master’s voice.’ The Guardian, February 2003.
On Michael Pennington: Are You there, Crocodile? Inventing Anton
Chekhov (2003).
358 Carnicke Sharon Marie
Laurence Senelick: The Chekhov Theatre. A Century of the Plays in
Performance (1997). Reviewed in SEEJ 42:4, 1998. 760-61.
359 Clayton, J. Douglas
J. Coope: Doctor Chekhov. A Study in Literature and Medicine (1997).
Reviewed in Slavonica 4:1, 1997/98. 94-95.
71
360 Clayton, J. Douglas
Laurence Senelick: The Chekhov Theatre. A Century of the Plays in
Performance (1997). Reviewed in The Russian Review 58:1, 1999. 14041.
361 Comins-Richard A.
V. Zubarev: A Systems Approach to Literature. Mythopoetics of
Chekhov’s Four Major Plays (1997). Reviewed in SEEJ 42:4, 1998.
769-70.
362 Durkin, Andrew R.
Vera Gottlieb and Paul Allain: The Cambridge Companion to Chekhov
(2000). Reviewed in The Russian Review 60:4, 2001. 641.
363 Johnson, Lindsay
Peter Sekirin: The Complete Early Short Stories of Anton Chekhov. “He
and She” and Other Stories. Vol. 1 (1880-1882) . (2001). Reviewed in
SEEJ 46:2, 2002. 373-74.
364 Katsell, Jerome H.
“Vladimir Borisovich Kataev. Imitatio Sancti Antonii?”
V. Kataev: If Only We Could Know! An Interpretation of Chekhov
(2002). Reviewed in The Bulletin of the North American Chekhov
Society XI:1, 2003. 8-12.
365 Leighton, Lauren G.
Neil Cornwell: The Gothic-Fantastic in Nineteenth-Century Russian
Literature (1999). Reviewed in Slavonica 7:2, 2001. 102-03.
366 Lindheim Ralph
J. de Sherbinin: Chekhov and Russian Religious Culture. Poetics of the
Marian Paradigm (1997). Reviewed in The Russian Review 58:1, 1999.
38-39.
367 McVay, Gordon
David Allen: Performing Chekhov (2000). Reviewed in Slavonica 6:2,
2000. 130-31.
72
368 McVay, Gordon
Harold Bloom (ed.): Anton Chekhov. Modern Critical Views (1999).
Reviewed in Slavonica 6:2, 2000. 131-32.
369 McVay, Gordon
Victor Borovsky: A Triptych from the Russian Theatre. An Artistic
Biography of the Komissarzhevskys (2001). Reviewed in Slavonica 8:1,
2002. 102-03.
370 McVay, Gordon
Philip Callow: Chekhov. The Hidden Ground (1998). Reviewed in
Slavonica 7:1, 2001. 87-89.
371 McVay, Gordon
Vera Gottlieb and Paul Allain (eds): The Cambridge Companion to
Chekhov (2000). Reviewed in Slavonica 7:2, 2001. 103-04.
372 McVay, Gordon
Vladimir Kataev: If Only We Could Know! An Interpretation of Chekhov
(2002). Reviewed in Slavonica 9:1, 2003. 51-53.
373 McVay, Gordon
Daria A. Kirjanov: Chekhov and the Poetics of Memory. Studies on
Themes and Motifs in Literature (2000). Reviewed in Slavonica 7:2, 9294.
374 McVay, Gordon
Donald Rayfield: Anton Chekhov. A Life (1997). Reviewed in Slavonica
4:2, 1997/98. 87-89.
375 McVay, Gordon
Mark Rozovskii: Chtenie “Diadi Vani” [Reading Uncle Vanya]. (1996).
Reviewed in Slavonica 4:2, 1997/98. 92-94.
376 McVay, Gordon
Laurence Senelick: The Chekhov Theatre. A Century of the Plays in
Performance (1997). Reviewed in Slavonica 4:2, 1997/98. 89-91.
73
377 McVay, Gordon
Vera Zubarev: A Systems Approach to Literature. Mythopoetics of
Chekhov’s Four Major Plays (1997). Reviewed in Slavonica 4:2,
1997/98. 91-92.
378 Mikhaychuk, George
Matthias Freise: Die Prosa Čechovs. Eine Einzeluntersuchung im
Ausgang von Einzelanalysen (1997). Reviewed in The Slavic Review
58:1, 1999. 268-69.
379 Moore, Carol
‘Hackwork of a genius.’ The Spectator, 282 (1999). 37-38.
On Peter Constantine: The Undiscovered Chekhov. Thirty-eight new
stories (1998).
380 Peace, Richard
Daria A. Kirjanov: Chekhov and the Poetics of Memory. Studies on
Themes and Motifs in Literature (2001). Reviewed in The Slavic Review
60:4, 2001. 881-82.
381 Pitcher, Harvey
Rosamund Bartlett: Anton Chekhov. A Life in Letters (2004). Reviewed
in TLS, 1 October 2004.
382 Reeve, F. D. •
‘A New Life of Chekhov.’ The Sewanee Review 1999. 57:1. xi-xiii.
On P. Callow: Chekhov. The Hidden Ground (1998).
383 Sadowski, Andrzej
‘Review of Seagulls.’ The Theatre Journal 52:4, 2000. 567-71.
384 Senelick, Laurence
Nick Worrall: The Moscow Theater (1996). Reviewed in Slavonica 4:2,
1997/98. 95-96.
74
385 Sherbinin, Julie de •
Peter Z. Schubert: The Narratives of Chekhov and Capec [Čapek?]. A
Typological Comparison of the Writers’ World Views (1997). Reviewed
in The Bulletin of the North American Chekhov Society VII:1, 1998. 6.
386 Sherbinin, Julie de •
Laurence Senelick: The Chekhov Theatre. A Century of the Plays in
Performance (1997). Reviewed in The Bulletin of the North American
Chekhov Society VII:1, 1998. 5.
387 Sherbinin, Julie de •
Vera Zubarev: A Systems Approach to Literature. Mythopoetics of
Chekhov’s Major Plays (1997). Reviewed in The Bulletin of the North
American Chekhov Society VII:1, 1998. 6.
388 Sherbinin, Julie de
Richard Gilman: Chekhov’s Plays. An Opening into Eternity (1995).
Reviewed in The Slavic Review 57:4, 1998. 941-43.
389 Smith, Monika
Matthias Freise: Die Prosa Čechovs. Eine Einzeluntersuchung im
Ausgang von Einzelanalysen (1997). Reviewed in NZSJ, 1998. 322-24.
390 Sokol, Melissa J.
V. Kataev: If Only We Could Know! An Interpretation of Chekhov
(2002). Reviewed in SEEJ 47:4, 2003. 696-98.
391 Swift, Mark
Donald Rayfield: Understanding Chekhov. A Critical Study of Chekhov’s
Prose and Drama (1999). Reviewed in NZSJ, 1999. 351-55.
392 Swift, Mark
Juras Ryfa: The Problem of Genre and the Quest for Justice in Chekhov’s
“The Island of Sakhalin” (1999). Reviewed in NZSJ, 2000. 265-68.
75
393 Terras, Victor
Neil Cornwell: Reference Guide to Russian Literature (1998). Reviewed
in Slavonica 6:4, 2000. 115-17.
394 White, F. H.
Julie de Sherbinin: Chekhov and Russian Religious Culture. The Poetics
of the Marian Paradigm (1997). Reviewed in SEEJ 42:3, 1998. 536-37.
395 Worrall, Nick
Laurence Senelick: The Chekhov Theatre. A Century of the Plays in
Performance (1997). Reviewed in The Slavic Review 58:4, 1999. 94041.
396 Young, Stuart
Laurence Senelick: The Chekhov Theatre. A Century of the Plays in
Performance (1997). Reviewed in NZSJ 1999. 355-60.
397 Zubarev, V.
Daria A. Kirjanov: Chekhov. The Poetics of Memory. Studies on Themes
and Motifs in Literature. Reviewed in SEEJ 45:4, 2001. 773-75.
76
XII. Reviews and notices
398 Bassett, Kate
‘Jealous green, violent red – Chekhov in colour.’ The Independent on
Sunday, 17 August 2003.
On Peter Stein’s production of The Seagull at the Edinburgh International
Festival.
399 Benedict, David
‘A very human drama.’ The Independent, 17 April 1999.
On David Hunt’s production of Uncle Vanya at the Mercury Theatre,
Colchester.
400 Billington, Michael
‘Chekhov smoulders.’ Guardian Review 2, 3 February 2000.
On Adrian Noble’s production of The Seagull at the Swan, Stratford-onAvon.
401 Billington, Michael
‘Chekhov as he would have wanted it.’ The Guardian, 31 August 2001.
On the production of The Seagull guest-directed by Luc Bondy at the
King’s Theatre, Edinburgh.
402 Billington, Michael
A review of David Hare’s version of Platonov at London’s Almeida
Theatre. The Guardian, 13 September 2001.
403 Billington, Michael
‘Dundee’s outstanding achievement.’ The Guardian, 20 October 2001.
A review of Rimas Tuminas’s “Small Theatre of Vilnius” production of
The Cherry Orchard at the Dundee Repertory Theatre.
404 Billington, Michael
‘Chekhov and the talking tampon.’ The Guardian, 14 March 2003.
On Braham Murray’s production of The Seagull at the Royal Exchange
Theatre, Manchester.
77
405 Billington, Michael
‘Chekhov made thrice welcome.’ The Guardian, 4 April 2003.
On Michael Blakemore’s production of Christopher Hampton’s version
of Three Sisters at the Playhouse Theatre (L.).
406 Billington, Michael
‘Chekhov’s Sisters drained of colour.’ The Guardian, 14 August 2003.
On Katie Mitchell’s production of Three Sisters at the National Theatre
(L.).
407 Brown, Stephen
‘Keystone culture cops.’ TLS, 7 September 2001.
On the production of The Seagull guest-directed by Luc Bondy at the
King’s Theatre, Edinburgh.
408 Clapp, Susannah
‘Nothing to lose but their trousers.’ The Observer, 2 September 2001.
On Loveday Ingram’s production of Brian Friel’s version of Three
Sisters at the Chichester Festival Theatre.
409 Clapp, Susannah
‘The play now arriving at platform 1 – Chekhov’s least known play
clunks into the Almeida, as its artistic directors bid farewell.’ 16
September, 2001.
On David Hare’s version of Ivanov directed by Jonathan Kent.
410 Clapp, Susannah
‘A heck of a Chekhov.’ The Observer, 22 September 2002.
On the Sam Mendes production of Uncle Vanya at the Donmar Theatre
(L.).
Also contains a review of Katie Mitchell’s Ivanov at the National Theatre
and a reference to Brian Friel’s Afterplay.
411 Flanders, Judith
‘In mourning for our lives.’ TLS, 22 August 2003.
On Stephen Pimlott’s production of The Seagull at the Chichester
Festival Theatre.
78
412 Fricker, Karen
A review of The Cherry Orchard production at the Abbey Theatre,
Dublin. The Guardian, 24 February 2004.
On Patrick Mason’s production of Tom Murphy’s version of the play.
413 Gardner, Lyn
A review of Rimas Tuminas’s “Small Theatre of Vilnius” production of
The Cherry Orchard at the Brighton Festival. The Guardian, 7 May
1998.
414 Gardner, Lyn
A review of Katie Mitchell’s production of Ivanov at the National
Theatre (L.). The Guardian, 18 October 2002.
415 Gardner, Lyn
‘The loneliness of Chekhov.’ The Guardian, 14 June 2003.
On The Cherry Orchard performed by the Oxford Stage Company at the
Riverside Studios (L.) in a new version by Samuel Adamson.
416 Gussow, Mel
‘In the world of Chekhov, where “complexity is a synonym for truth”.’
NYT, 2 September 2002.
On V. Kataev: If Only We Could Know! An Interpretation of Chekhov.
417 Hare, David
‘Chekhov’s wild, wild youth.’ The Observer, 2 September 2001.
On his version of Platonov for the Almeida Theatre.
418 Kennedy, Maeve
‘Triple crown for Mendes at Oliviers.’ The Guardian, 15 February 2003.
Sam Mendes, director of the Donmar Warehouse Theatre (L.), wins an
Oscar and an Olivier special award for his productions of Twelfth Night
and Uncle Vanya.
79
419 Kingston, Jeremy
On Sonia Fraser’s production of The Seagull at the Theatre Royal, York.
The Times, 14 October 1999.
420 Lindop, Grevel
‘From Russia with love (via Manchester).’ TLS, 28 March 2003.
On Braham Murray’s production of The Seagull at the Royal Exchange
Theatre, Manchester.
421 Macmillan, Joyce
‘Review of reviews.’ The Guardian, 19 August 2002.
On Peter Stein’s production of The Seagull at the Edinburgh International
Festival of Arts, 18 August 2002.
422 Maragonis, Maria
‘Between the notes.’ TLS, 18 April 2003.
On Michael Blakemore’s production of Christopher Hampton’s version
of Three Sisters at the Playhouse Theatre (L.).
423 Marks, Peter
‘Chekhovian angst amid real trees.’ NYT, 17 February 2002.
On Michael Cacoyannis’s film version of The Cherry Orchard.
424 Nightingale, Benedict
‘Noble turns up the RSC heat.’ The Times, 3 February 2000.
On Adrian Noble’s production of The Seagull at the Royal Shakespeare
Theatre, Stratford-on-Avon.
425 Nightingale, Benedict
‘Only the lonely’. The Times, 31 August 2001.
On the Vienna Burgtheater’s production of The Seagull, guest-directed
by Luc Bondy, at the Edinburgh International Festival.
80
426 Peter, John
‘Too little, too late. A postscript to Chekhov. Brian Friel’s “Afterplay”
adds nothing to the original.’ The Sunday Times Culture Supplement, 29
September 2002.
On the production of the play at the Gielgud Theatre (L.).‘The ‘original’
is Chekhov’s short story “The lady with a dog”.
427 Porter, Peter
‘Original chaos.’ TLS, 21 September 2001.
On David Hare’s version of Platonov at the Almeida Theatre (L.).
428 Raine, Celia
‘When Chekhov had a bad dream. A short story about a crazy grad is
turned into a play [in which he is] admitted to Yale. NYT, 5 June 2002.
On David Rabe’s dramatised production of Chekhov’s “The Black
Monk”.
429 [Reviewer unknown] NYT, 20 February 2004
‘Chekhov shows he can rap in updated Seagull. Regina Taylor’s
“Drowning Crow”, based on Chekhov’s Seagull.’ An all-Caribbean
production.
430 Robertson, Campbell
‘A festival takes Chekhov to places he never went.’ NYT [November
2004].
On a production based on Chekhov‘s plays at the Connelly Theater, New
York City.
431 Taylor, Paul
‘Chekhov’s Three Sisters for the millennium?’ The Independent, 31 May
1999.
432 Uden, Abigail
‘Pennington’s bouncing Chekhov. English Touring Theatre cancelled its
play [John Gabriel Borkman], but actor Michael Pennington bounced in
with a one-man show.’ Oxford Stage Review, April 2003.
81
Pennington’s one-man play Are You There, Crocodile? Inventing Anton
Chekhov ran at the Oxford Playhouse from 1 to 5 April 2003.
433 Weber, Bruce
‘Where Chekhov left off before he turned Irish.’ NYT, 5 May 2002.
On Brian Friel’s version of Uncle Vanya.
82
Notes to sections I to IX
1
I am indebted to Dr Tom McCulloch of Oxford University Press Archives
for clarifying the publication record of Ronald Hingley’s translations of
Chekhov’s plays and stories.
2
These items appear to be unauthorised and unacknowledged reprints of
Constance Garnett’s translations.
3
Angela Barlow has written and performed two one-woman plays. Reader,
I Married Him is a recreation of Charlotte Brontë. After Chekhov (2003)
portrays Chekhov’s widow Olga Knipper ten years after the writer’s death.
It has been frequently performed in the UK (including the Edinburgh
Festival Fringe) and was reviewed in The Scotsman, The Edinburgh
Review and elsewhere.
4
It appears that Helen Cooper’s play Mrs Vershinin has not been published.
83
84
II. 2005 – 2008
XIII. Translations, adaptations and works inspired by
Chekhov
434 Bauer, Andrea; Garnett, Constance Black
“The Lady with the Dog” and Other Stories. Alan Rodgers Books
(USA), 2005. 176 pp.
The lady with the dog; A doctor’s visit; An upheaval; Ionitch; The head
of the family; The black monk; Volodya; An anonymous story; The
husband.
435 Columbus, Curt
The Four Major Plays. In new American translations by Curt Columbus.
Chicago: Ivan R. Dee, 2005. 294 pp.
Seagull, Uncle Vanya, Three sisters, Cherry Orchard.
436 Malko, George
A Tragic Man Despite Himself. The Complete Short Plays. Translated
from the Russian, with an introduction by George Malko. Los Angeles:
Green Integer Series No. 140., 2006. 248 pp.
On the moon; The dimwit, or the retired captain; Dirty tragedians and
unclean playwrights; An ideal examination; A mess in Rome; The voice
of the people; On the injuriousness of tobacco (first version); Swan Song;
In the spring; Before the eclipse; The bear; The proposal; Tatyana
Repina; A tragic man despite himself; The wedding; A jubilee; The night
before the trial; On the injuriousness of tobacco (final version).
437 Samuels, Diane; Oberman, Tracy-Ann
Three Sisters on Hope Street, after Chekhov. L.: Nick Hern Books, 2008.
131 pp.
This is a contribution to the celebrations on Liverpool being selected as
European Capital of Culture 2008. First performed on 25 January 2008 at
the Everyman Theatre, Liverpool.
85
438 Senelick, Laurence
Anton Chekhov. The Complete Plays. Translated and edited, with an
introduction, and annotated by Laurence Senelick. N.Y., L.: W.W.
Norton & Company. 2006. lx + 1060 pp.
Early experiments. Untitled play (Without patrimony [Disinherited] or
Platonov); Along the highway.
Collaboration. “The power of hypnotism” by An. Chekhov and Iv.
Shcheglov.
Humorous dialogues and parodies. The fool, or the retired captain; A
young man; Unclean tragedians and leprous playwrights; An ideal
examination; “Chaos-Vile in Rome”; A mouth as big as all outdoors;
honorable townsfolk; At the sickbed; The case of the year 1884; A
drama; Before the eclipse; The sudden death of a steed, or The
magnanimity of the Russian people!
Plays (incl. variants). Swan song (Calchas); The evils of tobacco (first
version); Ivanov (first version); The bear; The proposal; Ivanov (final
version); Tatyana Repina; An involuntary tragedian (from the life of
vacationers); The wedding; The wood goblin; The celebration; The eve
of the trial; The seagull; Uncle Vanya; Three sisters; The evils of tobacco
(final version); The Cherry Orchard.
Appendix. Lost and unwritten plays.
86
XIV. Chekhov studies
439 Adlam, Carol
‘Anton Chekhov and Lillian Hellman. Ethics, form, and the problem of
melodrama.’ Chekhov 2004. Chekhov Special Issues in Two Volumes.
Vol. II. Chekhov and Others. EIP Publications 11. Essays in Poetics 31,
2006. 1-28.
440 Alenkina, Tatiana
‘From Chaika by Anton Chekhov to The Seagull by Thomas Kilroy.’
Chekhov 2004. Chekhov Special Issues in Two Volumes. Vol. II.
Chekhov and Others. EIP Publications 11. Essays in Poetics 31, 2006.
29-42.
441 Andrew, Joe; Reid, Robert
Chekhov 2004. Chekhov Special Issues in Two Volumes. Vol. I. Aspects
of Chekhov. EIP Publications 10. Essays in Poetics. The Journal of the
British Neo-Formalist Circle 30. Edited by Robert Reid. Keele, 2005. v
+ 253 pp.
Contributors. Joost van Baak, Birgit Beumers, Kjeld Bjørnager, Boris
Christa, Andrzej Dudek, Harai Golomb, Cynthia Marsh, Robin MilnerGulland, Richard Peace, Robert Reid, Laurence Senelick, Cari Alexander
van Slooten, Olga Soboleva, Willem Weststejn, Claire Whitehead.
442 Andrew, Joe; Reid, Robert
Chekhov 2004. Chekhov Special Issues in Two Volumes. Vol. II.
Chekhov and Others. EIP Publications 11. Essays in Poetics. The Journal
of the British Neo-Formalist Circle 31. Edited by Joe Andrew and Robert
Reid. Keele, 2006. vi + 368 pp.
Contributors. Carol Adlam, Tatiana Alenkina, Rosamund Bartlett, Sally
Dalton-Brown, Ros Dixon, Michael Falchikov, David Gillespie, Harai
Golomb, Julian Graffy, Eric de Haard, Jane Gary Harris, Henrietta
Mondry, Katherine Tiernan O’Connor, Michael Pursglove, Olga
Soboleva, Olga Tabachnikova, Kevin Windle.
443 Baak, Joost van
‘Chekhov’s fictional mansions. A narrative perspective.’ Chekhov 2004.
Chekhov Special Issues in Two Volumes. Vol. I. Aspects of Chekhov.
EIP Publications 10. Essays in Poetics 30, 2005. 1-20.
87
444 Bartlett, Rosamund
‘“Notes in a musical score”. The point of Chekhov’s punctuation.’
Chekhov 2004. Chekhov Special Issues in Two Volumes. Vol. II.
Chekhov and Others. EIP Publications 11. Essays in Poetics 31, 2006.
43-66.
445 Beumers, Birgit
‘The chopping of The Cherry Orchard. Stanislavskii or Chekhov?’
Chekhov 2004. Chekhov Special Issues in Two Volumes. Vol. I. Aspects
of Chekhov. EIP Publications 10. Essays in Poetics 30, 2005. 21-44.
446 Bjørnager, Kjeld
‘The masculine triangle in Uncle Vanya.’ Chekhov 2004. Chekhov
Special Issues in Two Volumes. Vol. I. Aspects of Chekhov. EIP
Publications 10. Essays in Poetics 30, 2005. 45-52.
447 Christa, Boris
‘Costume and communication in The Cherry Orchard.’ Chekhov 2004.
Chekhov Special Issues in Two Volumes. Vol. I. Aspects of Chekhov.
EIP Publications 10. Essays in Poetics 30, 2005. 53-59.
448 Dalton-Brown, Sally
‘Listening for the lost children. Chekhov and Katherine Mansfield.’
Chekhov 2004. Chekhov Special Issues in Two Volumes. Vol. II.
Chekhov and Others. EIP Publications 11. Essays in Poetics 31, 2006.
67-84.
449 Dixon, Ros
‘“Don’t throw me out!”. Anatolii Efros’ 1967 production of Chekhov’s
Three Sisters.’ Chekhov 2004. Chekhov Special Issues in Two Volumes.
Vol. II. Chekhov and Others. EIP Publications 11. Essays in Poetics 31,
2006. 85-113.
450 Dudek, Andrzej
‘The motif of insanity in Chekhov’s works. Literary functions and
anthropological connotations.’ Chekhov 2004. Chekhov Special Issues in
Two Volumes. Vol. I. Aspects of Chekhov. EIP Publications 10. Essays
in Poetics 2005. 60-74.
88
451 Falchikov, Michael
‘Chekhov on the cusp of two epochs. Escaping from the Classics.’
Chekhov 2004. Chekhov Special Issues in Two Volumes. Vol. II.
Chekhov and Others. EIP Publications 11. Essays in Poetics 31, 2006.
114-29.
452 Gillespie, David
‘Chekhov in the 1970s. Trifonov and Mikhalkov.’ Chekhov 2004.
Chekhov Special Issues in Two Volumes. Vol. II. Chekhov and Others.
EIP Publications 11. Essays in Poetics 31, 2006. 130-50.
453 Golomb, Harai
‘Heredity, inheritance, heritage. Human de- and re-generation in
Chekhov’s major plays (with special reference to Three Sisters).’
Chekhov 2004. Chekhov Special Issues in Two Volumes. Vol. I. Aspects
of Chekhov. EIP Publications 10. Essays in Poetics 30, 2005. 75-103.
454 Golomb, Harai
‘The whole at the expense of its parts. Chekhov’s plays as structuralists’
paradise.’ Chekhov 2004. Chekhov Special Issues in Two Volumes. Vol.
II. Chekhov and Others. EIP Publications 11. Essays in Poetics 31, 2006.
151-79.
455 Gottlieb, Vera
Anton Chekhov at the Moscow Art Theatre. Illustrations of the original
productions. Edited and translated by Vera Gottlieb. L. & N.Y.:
Routledge, 2005. 128 pp.
456 Graffy, Julian
‘Difficult People. Kira Muratova’s cinematic encounter with Chekhov.’
Chekhov 2004. Chekhov Special Issues in Two Volumes. Vol. II.
Chekhov and Others. EIP Publications 11. Essays in Poetics 31, 2006.
180-212.
457 Haard, Eric de
‘Chekhov’s numbers games and his pastiche of Jules Verne’s The Flying
Islands.’ Chekhov 2004. Chekhov Special Issues in Two Volumes. Vol.
II. Chekhov and Others. EIP Publications 11. Essays in Poetics 31, 2006.
213-33.
89
458 Harris, Jane Gary
‘Image criticism revisited. Chekhov’s reception in the early 20th-century
Russian women’s periodical press.’ Chekhov 2004. Chekhov Special
Issues in Two Volumes. Vol. II. Chekhov and Others. EIP Publications
11. Essays in Poetics 31, 2006. 234-57.
459 McVay, Gordon
‘The Centenary of Anton Chekhov. A Survey of Publications.’ SEER
84:1, 2006. 83-118.
460 Marsh, Cynthia
‘Two-timing time in Three Sisters.’ Chekhov 2004. Chekhov Special
Issues in Two Volumes. Vol. I. Aspects of Chekhov. EIP Publications 10.
Essays in Poetics 30, 2005. 104-15.
461 Marsh, Cynthia
‘The implications of quotations in performance. Masha’s lines from
Pushkin in Chekhov’s Three Sisters.’ SEER 84:3, 2006. 446-59.
462 Miles, Patrick
Brief Lives. Anton Chekhov. L.: Hesperus Press. 2008. 117 pp.
463 Miles, Patrick
‘Early Chekhov. The making of a totalitarian census 1928-29.’ Slavonica
14:1, 2008. 18-43.
464 Milner-Gulland, Robin; Soboleva, Olga
‘Translating and mistranslating Chekhov.’ Chekhov 2004. Chekhov
Special Issues in Two Volumes. Vol. I. Aspects of Chekhov. EIP
Publications 10. Essays in Poetics 30, 2005. 116-32.
465 Mondry, Henrietta
‘Peasant women’s sexualities in the writings of Gleb Uspenskii and
Anton Chekhov.’ Chekhov 2004. Chekhov Special Issues in Two
Volumes. Vol. II. Chekhov and Others. EIP Publications 11. Essays in
Poetics 31, 2006. 258-71.
90
466 O’Connor, Katherine Tiernan
‘Chekhov’s letter to Lermontov.’ Chekhov 2004. Chekhov Special Issues
in Two Volumes. Vol. II. Chekhov and Others. EIP Publications 11.
Essays in Poetics 31, 2006. 272-89.
467 Oushakin, Serguei Alex.
‘We’re nostalgic, we’re not crazy. Retrofitting the past in Russia.’ The
Russian Review 66:3, 2007. 451-82.
468 Parts, Liudmila
‘Down the intertextual lane. Petrushevskaia, Chekhov, Tolstoy.’ The
Russian Review 64:1, 2005. 77-79.
469 Peace, Richard
‘From titles to endings. “Rothschild’s Violin”.’ Chekhov 2004. Chekhov
Special Issues in Two Volumes. Vol. I. Aspects of Chekhov. EIP
Publications 10. Essays in Poetics 30, 2005. 133-40.
470 Pennington, Michael
Anton Chekhov’s Three Sisters. A study-guide by Michael Pennington.
L.: Nick Hern Books. 2007. 188 pp.
471 Pursglove, Michael
‘Grigorovich’s The Migrants. A source for Chekhov’s “The Steppe”?’
Chekhov 2004. Chekhov Special Issues in Two volumes. Vol. II.
Chekhov and Others. EIP Publications 11. Essays in Poetics 31, 2006.
290-304.
472 Reid, Robert
‘“The Death of a Civil Servant.” Beyond parody.’ Chekhov 2004.
Chekhov Special Issues in Two Volumes. Vol. I. Aspects of Chekhov.
EIP Publications 10. Essays in Poetics 30, 2005. 141-61.
473 Senelick, Laurence
‘Looking for Chekhov in all the wrong places.’ Chekhov 2004. Chekhov
Special Issues in Two Volumes. Vol. I. Aspects of Chekhov. EIP
Publications 10. Essays in Poetics 30, 2005. 162-81.
91
474 Slooten, Cari Alexander van
‘The functional role of sound in Chekhov’s stories and plays.’ Chekhov
2004. Chekhov Special Issues in Two Volumes. Vol. I. Aspects of
Chekhov. EIP Publications 10. Essays in Poetics 30, 2005. 182-99.
475 Soboleva, Olga
‘Chekhov’s plays on the Russian screen.’ Chekhov 2004. Chekhov
Special Issues in Two Volumes. Vol. I. Aspects of Chekhov. EIP
Publications 10. Essays in Poetics 30, 2005. 200-13.
476 Soboleva, Olga
‘“It is only Chekhov that one wants to be like.” Chekhov and Dovlatov –
the art of a storyteller.’ Chekhov 2004. Chekhov Special Issues in Two
Volumes. Vol. II. Chekhov and Others. EIP Publications 11. Essays in
Poetics 31, 2006. 305-18.
477 Tabachnikova, Olga
‘“The world is ugly and people are sad.” On Chekhov’s ethics and
aesthetics in the works of Sergei Dovlatov.’ Chekhov 2004. Chekhov
Special Issues in Two Volumes. Vol. II. Chekhov and Others. EIP
Publications 11. Essays in Poetics 31, 2006. 319-54.
478 Volchkevich, Maya
The Seagull. A Comedy of Delusions. Translated by Svetlana Le Fleming.
M.: Probel. 2007. 127 pp.
479 Weststeijn, Willem G.
‘Character in Chekhov’s stories.’ Chekhov 2004. Chekhov Special Issues
in Two Volumes. Vol. I. Aspects of Chekhov. EIP Publications 10.
Essays in Poetics 30, 2005. 214-28.
480 Whitehead, Claire
‘Playing at detectives. Parody in “The Swedish Match”.’ Chekhov 2004.
Chekhov Special Issues in Two Volumes. Vol. I. Aspects of Chekhov.
EIP Publications 10. Essays in Poetics 30, 2005. 229-46.
92
481 Whitehead, Claire
‘Anton Chekhov’s “The Black Monk”. An example of the fantastic?’
SEER 85:4, 2007. 601-29.
482 Windle, Kevin
‘Three Irish Sisters. Brian Friel’s version of Chekhov’s play for the Irish
stage.’ Chekhov 2004. Chekhov Special Issues in Two volumes. Vol. II.
Chekhov and Others. EIP Publications 11. Essays in Poetics 31, 2006.
355-67.
483 Worrall, Nick
Editorial commentary and notes to Michael Frayn’s translation of The
Cherry Orchard (revised edition). Methuen Student Editions, 2005. v-xlv
+ 68-80.
484 Worrall, Nick
Editorial commentary and notes to Michael Frayn’s translation of Three
Sisters. Methuen Student Editions, 2006. v-lxxix + 91-110.
485 Worrall, Nick
Editorial commentary and notes to Michael Frayn’s translation of The
Seagull. Methuen Student Editions, 2006. v-lxxviii + 68-92.
486 Worrall, Nick and Non
Editorial commentary and notes to Michael Frayn’s translation of Uncle
Vanya. Methuen Student Editions, 2005. v-lxx + 61-84.
93
94
XV. Book reviews
487 Clayton, Douglas J.
Michael C. Finke: Seeing Chekhov. Life and Art (2006). Reviewed in The
Russian Review 65:2, 2006. 302-03.
488 Flath, Carol Apollonio
Curt Columbus: Anton Chekhov. The Four Major Plays in New American
Translations (2005). Reviewed in SEEJ 2006. 50:2.
489 Flath, Carol Apollonio
‘A new century, a new Chekhov’ (review essay)
(i) Rosemary Bartlett: Chekhov. Scenes from a Life (2004).
(ii) Rosamund Bartlett: Anton Chekhov. A Life in Letters (2004).
(iii) Rosamund Bartlett: “About Love” and Other Stories (2004).
Reviewed in SEEJ 2006. 50:3.
490 Flath, Carol Apollonio
John McKellor Reid: The Polemical Force of Chekhov’s Comedies. A
Rhetorical Index of Chekhov’s Comedies (2007). Reviewed in The
Russian Review 67:1, 2008. 121-22.
491 Henry, Peter
Harvey Pitcher: The Comic Stories (2004). Reviewed in SEER 83:4,
2005. 738-39.
492 Kirjanov, Daria A.
Mark Stanley Swift: Biblical Subtexts and Religious Themes in Works of
Anton Chekhov (2004). Reviewed in The Slavic Review 64:3, 2005. 68889.
493 Lapushin, Radislav
Michael C. Finke: Seeing Chekhov. Life and Art (2005). Reviewed in
Canadian American Studies 4:4, 2007. 476-77.
95
494 McMillin, Arnold
Stuart Campbell: Russians on Music, 1880 – 1917. An Anthology (2003).
Reviewed in SEER 83:2, 2005. 332-34.
495 McNair, John
Mark Stanley Swift: Biblical Subtexts and Religious Themes in Works of
Anton Chekhov (2004). Reviewed in Australian Slavonic and East
European Studies (formerly Melbourne Slavonic Studies) 21:1-2, 2007.
187-88.
496 McVay, Gordon
Books reviewed:
(i) Rosamund Bartlett: Anton Chekhov. “About Love” and Other Stories
(2004).
(ii) Rosamund Bartlett: Anton Chekhov. A Life in Letters (2004).
Reviewed in Slavonica 11:2. 2005. 193-94.
497 McVay, Gordon
Michael C. Finke: Seeing Chekhov. Life and Art (2005). Reviewed in
SEER 84:3, 2006. 541-43.
498 Peace, Richard
‘A doctor, his loves and some renowned theatrical friends.’ Reviewed in
THES, 4 February 2005. 26-27.
Books reviewed:
(i) Rosamund Bartlett: Anton Chekhov. A Life in Letters (2004).
(ii) Rosamund Bartlett: Chekhov. Scenes from a Life (2004).
(iii) Vera Gottlieb (ed.): Anton Chekhov at the Moscow Art Theatre.
Illustrations of the original productions (2005).
499 Peace, Richard
Michael C. Finke: Seeing Chekhov. Life and Art (2005). Reviewed in the
Slavic Review 65:4, 2006. 854-55.
500 Rayfield, Donald
Mark Stanley Swift: Biblical Subtexts and Religious Themes in the Works
of Anton Chekhov (2004). Reviewed in The Russian Review 64:3, 2005.
515.
96
XVI. Reviews and notices
501 Billington, Michael
‘Tangoing its way to post-revolutionary oblivion.’ The Guardian. 28
June 2006.
On the Katie Mitchell production of The Seagull at the National Theatre
(L.).
502 Billington, Michael
‘Domestic chore pushes Chekhov over the edge.’ The Guardian, 31
August 2006.
On an American Repertory Theatre production of Three Sisters by
Krystian Lupa at the King’s Theatre, Edinburgh.
503 Billington, Michael
‘Revealing the hollow behind celebrity.’ The Guardian, 26 January,
2007.
On Ian Rickson’s production of The Seagull at the Royal Court Theatre
(L.).
504 Billington, Michael
‘Vanya struggles to fill a bare, silent stage.’ The Guardian, 29 January
2007.
On Hugh Fraser’s production of David Mamet’s version of Uncle Vanya
at Wilton’s Music Hall (L.).
505 Billington, Michael
‘Chekhov’s preoccupation with theatre turns to theatricality.’ The
Guardian, 1 June 2007.
On Trevor Nunn’s production of The Seagull at the Courtyard Theatre,
Stratford-upon-Avon.
506 Billington, Michael
‘Kingston’s bright new theatre gets off to a sparkling start.’ The
Guardian, 28 January 2008.
On Peter Hall’s production of Uncle Vanya at the Rose Theatre,
Kingston-upon-Thames.
97
507 Billington, Michael
‘Chekhov relocates to the Mersey.’ The Guardian, 1 February 2008.
On the production of Three Sisters on Hope Street at the Liverpool
Everyman Theatre.
508 Gardner, Lyn
‘The main event.’ The Guardian, 22 August 2005.
On the Hungarian Kretakor Szinhaz company’s production of The
Seagull at the Edinburgh International Festival. Directed by Arpad
Schilling.
509 Gardner, Lyn
‘Lumley impresses in Miller’s revolutionary Chekhov.’ The Guardian, 23
March 2007.
On Jonathan Miller’s production of The Cherry Orchard at the Sheffield
Crucible Theatre, with Joanna Lumley.
510 Gardner, Lyn
An untitled review of The Birmingham Repertory Theatre production of
Uncle Vanya. The Guardian, 2 April 2007.
511 Griffiths, Eric
‘Extended disbelief.’ TLS, 6 April 2007.
On Lev Dodin’s Maly Dramatic Theatre production of Platonov at the
Barbican Theatre (L.).
512 Kennard, Luke
‘What the lake tells us.’ TLS, 7 March 2008.
On Tennessee Williams’ ‘free adaptation’ of The Seagull, staged at the
Northcott Theatre, Exeter.
513 Kettle, Martin
‘Hostages in the hands of overindulgent meddlers.’ The Guardian, 1 July
2006.
On Katie Mitchell’s production of The Seagull at the National Theatre
(L.).
98
514 Koenig, Rhoda
‘Where’s the Chekhovian intensity?’ The Independent on Sunday, 1
April 2007.
On Jonathan Miller’s production of The Cherry Orchard at the Sheffield
Crucible Theatre, with Joanna Lumley.
515 Liber, Vera
‘at Platonov’. Plays International, April/May 2007. 25.
On Lev Dodin’s production of Platonov at the Barbican Theatre (L.).
516 Liber, Vera
‘at Three Sisters’. Plays International, August/September 2007. 21.
On Declan Donnellan’s touring production at the Barbican Theatre (L.).
517 Mahoney, Elizabeth
‘A deadly kiss in Brighton.’ The Guardian, 21 May 2005.
On a production of Uncle Vanya by Lev Dodin’s Maly Theatre at the
Brighton Corn Exchange.
518 Mitchell, Katie
‘The Scavengers.’ The Guardian, 17 June 2006.
On her forthcoming production of The Seagull at the Lyttelton Theatre.
(L.).
519 Mullan, John
‘Lake quite eerie.’ TLS, 14 July 2006.
On Katie Mitchell’s production of The Seagull at the Lyttelton Theatre.
520 Oxman, Steven
‘The Cherry Orchard. A Center Theater Group presentation of a play in
two acts by Anton Chekhov.’ Adapted by Martin Sherman. Directed by
Sean Mathias. Staged at the Mark Taper Forum. Legit, 13 February 2006.
521 [Sierz, Aleks]
‘Chekhov in the melting pot.’ Plays International, Autumn 2006. 10-11.
99
Krystian Lupa talks to Aleks Sierz about his experimental approach to
Three Sisters.
522 Taylor, Paul
‘Nimble performance from a leading lady in every sense.’ The
Independent, 26 January 2007.
On Ian Rickson’s production of The Seagull at the Royal Court Theatre
(L.), with Kristin Scott-Thomas.
523 Taylor, Paul
‘Never such expressive sisters.’ The Independent, 4 May 2007.
On Declan Donnellan’s production of Three Sisters in Russian at the
Warwick Arts Centre, Coventry.
524 Walker, Lynn
‘Chekhov for the hyperactive.’ The Independent, 30 March 2007.
On Bryony Lavery’s up-dated version of Uncle Vanya at the Birmingham
Repertory Theatre.
100
Russian and English titles of Chekhov’s works1
7799Агафья
Америка в Ростове-на-Дону
Анна на шее
Анюта
Аптекарша
Архиерей
Agafya, Agatha. [Agaf´ia]
America in Rostov on Don
The order of St. Anne, Anna on the neck
Anyuta
The chemist’s wife
The bishop. [Аrchierej]
Бабы
Бабье царство
Беглец
Без заглавия
Белолобый
Беспокойный гость
Библиография
Брак через 10–15 лет
Брожение умов
Peasant women
A woman’s kingdom
The runaway
Without a title, A story without a title.
[No comment]
Patch. [Whitebrow]
The troublesome guest]
A bibliography
A marriage in ten or fifteen years
Minds in ferment
В аптеке
В бане
В вагоне
В море. Рассказ матроса
В Москве. (Русский Гамлет)
В Москве на Трубной площади
В овраге
В потемках
В родном углу
В ссылке
В усадьбе
Ванька
Ведьма
Верочка
At the pharmacy
At the bath-house
On the train
At sea – a sailor’s tale
In Moscow (A Russian Hamlet)
The bird market
In the ravine. [In the gully]
In the dark
Home
In exile
At a country house
Vanka. [Little Jack]
The witch
Vero[t]chka
1
The English titles of Chekhov’s works listed here are those chosen by translators
or editors. Unsuitable or incorrect titles are enclosed in square brackets [.].
101
Винт
Вишневый сад
Водевиль
Вопросы и ответы
Вор
Воры
Восклицательный знак
Враги
Врачебные советы
Выигрышный билет
Vint (a card game)
The cherry orchard
The vaudeville
Questions and answers
A thief
Robbers
The exclamation mark
Enemies
Doctor’s advice
The lottery ticket
Говорить или молчать. Сказка
Горе
Господа обыватели
Гусев
To speak or be silent
Sorrow, Grief, Misery, Woe
Honorable townsfolk
Gusev
Дама с собачкой
The lady with the little dog, A lady with a
dog. [with a pet/toy dog]
[The villa]
Two letters
The case of the year 1884
A day in the country
The delegate
Kids, Children
A good German
The doctor
The house with a mezzanine.
The artist’s story
At home
Supplementary questions for the statistical
census. Submitted by Antosha Chekhonte
Дача
Два письма
Дело о 1884 годе
День за городом
Депутат
Детвора
Добрый немец
Доктор
Дом с мезонином.
Рассказ художника
Дома
Дополнительные вопросы
к личным картам статистической
переписи, предлагаемые Антошей
Чехонте
Дочь Альбиона
Драма
Драма на охоте
Дура, или капитан в отставке
A/The daughter of Albion
A drama
The shooting party
The/A fool/A dimwit, or the retired seacaptain
102
Душечка
Дуэль
Дядя Ваня
The darling. [Angel]
The duel
Uncle Vanya. [Diadia Vania]
Егерь
The huntsman
Жалобная книга
Женское счастье
Женщина без предрассудков
Живая хронология
Житейская мелочь
The complaints book
A woman’s happiness
A woman without prejudices
A living chronology
A trifle from life
Задача
Задачи сумасшедшего математика
Зеркало
Злоумышленник
Знакомый мужчина
Знамение времени
A problem
Questions posed by a mad mathematician
The looking-glass
The malefactor
A gentleman friend
A sign of the times
Иванов
И то и сё. Письма и
телеграммы Антоши Ч.
И то и сё. Поэзия и проза
Иван Матвеич
Идеальный экзамен
Из воспоминаний идеалиста
Из дневника одной девицы
Ivanov, Ivanoff
[Sarah Bernhardt comes to town]
Из дневника помощника
бухгалтера
Из записной книжки старого
педагога
Из записок вспыльчивого
человека
Именины
Интриги
Ионыч
This and that. Four vignettes
Ivan Matveyitch
An ideal examination
Notes from the memoirs of a man of ideals
From the diary of a young maiden, of a
young girl
From the diary of an assistant
bookkeeper
From a retired teacher’s diary
Notes from the journal of a quicktempered/violent-tempered man
The name-day party. [The birthday party]
[The party]
Intrigues
Ionych. [Yonych] . [Ionitch]
103
Исповедь, или Оля, Женя, Зоя.
(Письмо)
История одного коммерческого
предприятия
A confession, or Olya, Zhenya,
Zoya. A letter
The story of a commercial venture
Кавардак в Риме
Казак
Каштанка
Княгиня
Кое-что. 1. Г-н Гулевич (автор)
и утопленник. 2. Картофель и
тенор
Козел или негодяй?
Коллекция
Конокрады
Контрабас и флейта
Кот
Кошмар
Красавицы
Крест
Крыжовник
Кто виноват?
Кухарка женится
A mess in Rome. [Chaos-Vile in Rome]
The Cossack
Kashtanka
The princess
Mr Gulevitch, writer, and the drowned
man. The potato and the tenor
Goat or scoundrel
The collection
Horse-stealers
Double-bass and flute
The cat
A nightmare
The beauties
The cross
Gooseberries
Who is/was to blame?
Cook’s wedding, Cook is getting married.
[is being marriaged]
Лебединая песня
Летающие острова
Леший
Лишние люди
Лошадиная фамилия
Swan song, Swansong
The flying islands
The wood demon, The wood goblin
Not wanted
A horsy name. [A horse name]
Майонез
Мальчики
Маска
Медведь
Мертвое тело
Месть женщины
Мечты
Mayonnaise
Boys
The mask
The bear
The dead body
A woman’s revenge
Dreams, daydreams
104
Молодой человек
Моя жизнь
Моя она
Мститель
Муж
Мужики
Мыслитель
A young man
My life
My love
The vengeance-seeker
The husband
Peasants/The peasants
A man of ideas
На большой дороге
На кладбище
На Луне
На магнетическом сеансе
На подводе
На пути
На святках
На чужбине
Надул, очень древний анекдот
Накануне поста
Налим
Нахлебники
Начальник станции
Невеста
On the high/main road, Along the highway
In the graveyard
On the Moon
A [hypnotic] seance
The schoolmistress. [In the cart]
On the road, On the way
At Christmas time
In a strange land
Trickery. An extremely ancient joke
Shrove Tuesday
The burbot
The dependents
The station master
The fiancée, The bride, Betrothed.
[A marriageable girl]
A prelude to a marriage
A rash thing to do. [An inadvertence]
An unpleasant business
The/A misfortune
Foiled!
An unsuccessful visit
Unclean tragedians and leprous
playwrights. Unclean playwrights,
Dirty tragedians and [unclean] playwrights
Nino[t]chka
The beggar
A new illness and an old cure
The new [villa]
Необходимое предисловие
Неосторожность
Неприятная история
Несчастье
Неудача
Неудачный визит
Нечистые трагики и прокаженные
прокаженные драматурги
Ниночка
Нищий
Новая болезнь и старое средство
Новая дача
105
Ночь перед судом
The night before the trial, The eve of the
trial
О бренности. Масленичная тема
On mortality. A carnival tale.
[Shrove Tuesday]
On the harmful/injurious effects of
tobacco. Dangers of tobacco. Smoking is
bad for you. [On the injuriousness of
tobacco]
O women, women!
About/concerning love
How I became lawfully wed/entered into
holy matrimony
[Heights]
[Aborigines]
Lights
He and she
He understood
The orator
The decoration
In autumn
Sakhalin, Island of Sakhalin
The father
Head of the family
A fragment
A mistake, A blunder
О вреде табака
О женщины, женщины!
О любви
О том, как я в законный брак
вступил. Рассказец
Обер-верхи
Обыватели
Огни
Он и она
Он понял!
Оратор
Орден
Осенью
Остров Сахалин
Отец
Отец семейства
Отрывок
Ошибка
Палата № 6
Панихида
Пари
Певчие
Перед затмением
Переполох
Пересолил
Печенег
Письмо
Платонов [Безотцовщина]
Ward no. six (no. 6 / 6)
The requiem. [Panikhida]
The bet
The choristers
Before the eclipse
The/An upheaval
Overseasoned, Overdoing it
The Pechenyeg. [The savage]
The letter
Platonov. [Wild honey].[An early dramatic
study]
106
По делам службы
Полинька [так]
Попрыгунья
После театра
Поцелуй
Почта
Праздничные
Предложение
Приданое
Признательный немец
Припадок
Произведение искусства
Происшествие. Рассказ ямщика
Радость
Размазня
Разрушение равновесия
Рассказ без конца
Рассказ госпожи NN
Рассказ, которому трудно
подобрать название
Рассказ неизвестного человека
On official business, On duty
Polinka
The butterfly, The grasshopper
After the theatre
The kiss
The post
The festivities
The marriage proposal, The proposal
The trousseau
The grateful German
A nervous breakdown, An attack of nerves,
The seizure
A work of art, The objet d’art
An occurrence
Joy. [Rapture]
The milksop
Disturbing the balance
A story without an end
A lady’s story
Hard to choose a name for this one
Реклама
Репетитор
Роман адвоката. Протокол
Роман с контрабасом
Рыбье дело
Рыбья любовь
The story of a nobody, An anonymous
story
The head gardener’s tale/a head-gardener’s
story
The advertisement
The tutor
A lawyer’s romance. A protocol
A romance with a double-bass
A fishy story
[Fish love]
С женой поссорился
Сапожник и нечистая сила
Сара Бернар
Свадьба
He quarrelled with his wife
The cobbler and the devil
Sarah Bernhardt
At the/a wedding, The wedding reception
Рассказ старшего садовника
107
Свирель
Святою ночью
The reed-pipe, The pipe
Easter Eve, Easter Night, The night before
Easter
Village doctors
A serious step
The power of hypnotism
Strong impressions
Malingerers
A Siren
[Bad story (from a novel)]
Сельские эскулапы
Серьезный шаг
Сила гипнотизма
Сильные ощущения
Симулянты
Сирена
Скверная история. Нечто
pоманоoбразное
Скорая помощь
Скоропостижная конская
смерть, или Великодушие
русского народа!
Скрипка Ротшильда
Скучная история
First aid
The sudden death of a steed, or The
magnanimity of the Russian people!
Следователь
Словотолкователь для «барышень»
Случай из практики
Случай из судебной практики
Смерть чиновника
Сон репортера
Соседи
Спать хочется
Средство от запоя
Старость
Степь
Стража под стражей
Страх
Страшная ночь
Студент
Суд
Супруга
Сценка из несуществующего
Rothschild’s violin, Rothschild’s fiddle
A dreary story. [A boring story] . [A dull
story]
The examining magistrate
A glossary for young ladies
A case history, A doctor’s visit
An incident at law
The death of a civil servant, of an official,
of a government clerk; The sneeze
A reporter’s dream
Neighbours
Let me sleep, Sleepy
A cure for drinking. [To cure a drinking
bout]
Old age
The steppe
The jailer jailed
Terror
A dreadful night
The student
The trial
[The helpmate]
A scene from an unwritten vaudeville
108
водевиля
Счастье
Happiness, Fortune
Тайна
Тайный советник
Талант
Тапер
A mystery
The privy councillor/council[l]or
Talent
The ballroom dancer, The dance pianist
Татьяна Репина
Тина
Тиф
Толстый и тонкий
Трагик
Трагик поневоле (Из дачной
жизни)
Tatyana Repina. [Tatyana Repin]
Mire
Typhus
Fat and thin, Lean and fat
A tragic role
An involuntary tragedian (from the life of
vacationers), A reluctant tragic hero, The
tragedian in spite of himself. [A tragic man
despite himself] . [An unwilling martyr]
Three years. [The parasol]
Three sisters, The three sisters
The nincompoop
Hush!
Три года
Три сестры
Тряпка
Тссс!
У знакомых
У постели больного
У телефона
Убийство
Унтер Пришибеев
Устрицы
Учитель
Учитель словесности
A visit to friends, All friends together
At the patient’s bedside, At the sickbed
On the telephone
Murder, A/The murder
Sergeant Prishibeyev
Oysters
The schoolmaster
The teacher of literature. [The Russian
teacher]
Хамелеон
Хирургия
Холодная кровь
Хористка
The chameleon
The surgery, The dental surgeon
[Cattle-dealers]
The chorus girl
109
Хорошие люди
Хороший конец
Художество
Excellent people
A happy ending
Art
Чайка
Человек в футляре
The seagull /Sea gull, Sea-gull/. [Chaika]
The man in a case, The man who lived in a
shell. [A hard case] . [Encased]
The black monk
What you almost always find in novels,
stories etc. Elements most often found in
novels, [short] stories etc.
Черный монах
Что чаще всего встречается
в романах, повестях и т. п.
Шампанское
Шведская спичка
Шило в мешке
Шуточка
Champagne
The Swedish match, The safety match
Murder will out
A/The little joke
Экзамен на чин
The civil service exam
Юбилей
The/A jubilee
Язык до Киева поведет
Ярмарочное «итого»
[A mouth as big as all outdoors]
[After the fair]
Mari d’elle
Her husband
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