sign in sign up
<<
Home , About Love (short story), Agafya (short story), Anna on the Neck, Ann Dunnigan, Anyuta (short story), Ariadne (short story)

Chekhov in English 1998 • • • 2008

logo

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 ), Middlesex University, , 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 ’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 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 ). 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, 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 101

1 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. 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. compiler, compiled (by) ed., eds editor(s) no., nos number(s) p., pp. page(s) trans. translator(s), translated (by) vol., vols volume(s)

A note on editorial conventions The titles of literary and other works (including collected works) are given in italics: 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: “”; “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 ’.

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 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 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 low-

3 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 “” 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. ’s take on 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 , from a literal translation by ’. 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 . 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 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 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 Anglo- phone 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 present- day 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 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 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 , 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 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 ; 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; ; The troublesome guest; Not wanted; The robbers; Lean and fat; The head gardener’s tale; Hush!; Without a title; .

2 Aplin, Hugh; Fiennes, Williams . 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 “” 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; ; Fish love; The black monk; Rothschild’s violin; The student; The house with the mezzanine; ; The man in a case; Gooseberries; About love; The lady with the little dog; ; .

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). ; The seagull; ; 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 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; ; The doctor; The examining magistrate; An awkward business; The princess; ; 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; ; 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 Saturday Review, 14 April 2001, on pp. 1, 3.

14 Dunnigan, Ann; Pahomov, George Selected Stories. Translated by , 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; ; The kiss; The father; ; Three years; The house with a mansard; ; 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; ; A dull story; ; 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 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. , The kiss, The duel; ; 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; ; A dead body; ; 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; ; The bird market; The choristers; Minds in ferment; A chameleon; In the graveyard; ; The marshal’s widow; ; 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; ; An upheaval; The requiem; Anyuta; The witch; A joke; Agafya; A story without an end; Grisha. Love; ; ; A day in the country; ; ; A trifle from life; Difficult people; In the court; An incident; A work of art; ; On the road; Easter Eve; The beggar; A maladvertence; Verotchka; Shrove Tuesday; A bad business; Home; Typhus; The Cossack; Volodya; ; Zinotchka; The doctor; The runaway; The cattle-dealers; In trouble; The kiss; ; ; A lady’s story; A story without a title; ; 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. ; The beauties; The party; The shoemaker and the devil; ; A nervous breakdown; The princess; The horse-stealers; Gusev; ; 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; ; Anna on the neck; ; An artist’s story; The Pechenyeg; ; The schoolmistress; The man in a case; Gooseberries; About love; Ionitch; A doctor’s visit; ; The darling; The new villa; ; The lady with the dog; At Christmas time; The bishop; .

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 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 “” 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. : 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; ; 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 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.: , 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; ; 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 quick- tempered man; A man of ideas; ; 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 . 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 . L.: Samuel French, 2000. 58 pp. First produced by Oxford Stage Company at London’s 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 . 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 ‘’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 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 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 . 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 (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; .

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 (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 .

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 ill- fated 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. 246- 58.

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 . 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 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.’ Dosto- evsky 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 ), 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. ix- xiii + 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. 152- 62.

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, , Emma Polotskaya, , 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 .’ 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. 315- 38. 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 Cana- dienne 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 .’ 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. Inter- nationale 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. 163- 75. 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. 238- 50.

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. 796- 821.

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 . 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 .’ 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 ’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 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 con- structions. 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 : 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. 140- 41.

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, 92- 94.

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. 940- 41.

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.’ on Sunday, 17 August 2003. On ’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-on- Avon.

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 .

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 ’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 ’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 .

410 Clapp, Susannah ‘A heck of a Chekhov.’ The Observer, 22 September 2002. On the 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 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 ; 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 Milner- Gulland, 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. 688- 89.

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 ’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 ’s production of The Cherry Orchard at the Crucible Theatre, with .

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 ’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 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 . 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 1 Russian and English titles of Chekhov’s works

7799Агафья Agafya, Agatha. [Agaf´ia] Америка в Ростове-на-Дону America in Rostov on Don Анна на шее The order of St. Anne, Anna on the neck Анюта Anyuta Аптекарша The chemist’s wife Архиерей The bishop. [Аrchierej]

Бабы Peasant women Бабье царство A woman’s kingdom Беглец The runaway Без заглавия Without a title, A story without a title. [No comment] Белолобый Patch. [Whitebrow] Беспокойный гость The troublesome guest] Библиография A bibliography Брак через 10–15 лет A marriage in ten or fifteen years Брожение умов Minds in ferment

В аптеке At the pharmacy В бане At the bath-house В вагоне On the train В море. Рассказ матроса At sea – a sailor’s tale В Москве. (Русский Гамлет) In Moscow (A Russian Hamlet) В Москве на Трубной площади The bird market В овраге In the ravine. [In the gully] В потемках In the dark В родном углу Home В ссылке In exile В усадьбе At a country house Ванька Vanka. [Little Jack] Ведьма The witch Верочка 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 Vint (a card game) Вишневый сад The cherry orchard Водевиль The vaudeville Вопросы и ответы Questions and answers Вор A thief Воры Robbers Восклицательный знак The exclamation mark Враги Enemies Врачебные советы Doctor’s advice Выигрышный билет The lottery ticket

Говорить или молчать. Сказка To speak or be silent Горе Sorrow, Grief, Misery, Woe Господа обыватели Honorable townsfolk Гусев Gusev

Дама с собачкой The lady with the little dog, A lady with a dog. [with a pet/toy dog] Дача [The villa] Два письма Two letters Дело о 1884 годе The case of the year 1884 День за городом A day in the country Депутат The delegate Детвора Kids, Children Добрый немец A good German Доктор The doctor Дом с мезонином. The house with a mezzanine. Рассказ художника The artist’s story Дома At home Дополнительные вопросы Supplementary questions for the statistical к личным картам статистической census. Submitted by Antosha Chekhonte переписи, предлагаемые Антошей Чехонте Дочь Альбиона A/The daughter of Albion Драма A drama Драма на охоте The shooting party Дура, или капитан в отставке The/A fool/A dimwit, or the retired sea- captain

102 Душечка The darling. [Angel] Дуэль The duel Дядя Ваня Uncle Vanya. [Diadia Vania]

Егерь The huntsman

Жалобная книга The complaints book Женское счастье A woman’s happiness Женщина без предрассудков A woman without prejudices Живая хронология A living chronology Житейская мелочь A trifle from life

Задача A problem Задачи сумасшедшего математика Questions posed by a mad mathematician Зеркало The looking-glass Злоумышленник The malefactor Знакомый мужчина A gentleman friend Знамение времени A sign of the times

Иванов Ivanov, Ivanoff И то и сё. Письма и [Sarah Bernhardt comes to town] телеграммы Антоши Ч. И то и сё. Поэзия и проза This and that. Four vignettes Иван Матвеич Ivan Matveyitch Идеальный экзамен An ideal examination Из воспоминаний идеалиста Notes from the memoirs of a man of ideals Из дневника одной девицы From the diary of a young maiden, of a young girl Из дневника помощника From the diary of an assistant бухгалтера bookkeeper Из записной книжки старого From a retired teacher’s diary педагога Из записок вспыльчивого Notes from the journal of a quick- человека tempered/violent-tempered man Именины The name-day party. [The birthday party]

[The party] Интриги Intrigues Ионыч Ionych. [Yonych] . [Ionitch]

103 Исповедь, или Оля, Женя, Зоя. A confession, or Olya, Zhenya, (Письмо) Zoya. A letter История одного коммерческого The story of a commercial venture предприятия

Кавардак в Риме A mess in Rome. [Chaos-Vile in Rome] Казак The Cossack Каштанка Kashtanka Княгиня The princess Кое-что. 1. Г-н Гулевич (автор) Mr Gulevitch, writer, and the drowned и утопленник. 2. Картофель и man. The potato and the tenor тенор Козел или негодяй? Goat or scoundrel Коллекция The collection Конокрады Horse-stealers Контрабас и флейта Double-bass and flute Кот The cat Кошмар A nightmare Красавицы The beauties Крест The cross Крыжовник Gooseberries Кто виноват? Who is/was to blame? Кухарка женится Cook’s wedding, Cook is getting married. [is being marriaged]

Лебединая песня Swan song, Swansong Летающие острова The flying islands Леший The wood demon, The wood goblin Лишние люди Not wanted Лошадиная фамилия A horsy name. [A horse name]

Майонез Mayonnaise Мальчики Boys Маска The mask Медведь The bear Мертвое тело The dead body Месть женщины A woman’s revenge Мечты Dreams, daydreams

104 Молодой человек A young man Моя жизнь My life Моя она My love Мститель The vengeance-seeker Муж The husband Мужики Peasants/The peasants Мыслитель A man of ideas

На большой дороге On the high/main road, Along the highway На кладбище In the graveyard На Луне On the Moon На магнетическом сеансе A [hypnotic] seance На подводе The schoolmistress. [In the cart] На пути On the road, On the way На святках At Christmas time На чужбине In a strange land Надул, очень древний анекдот Trickery. An extremely ancient joke Накануне поста Shrove Tuesday Налим The burbot Нахлебники The dependents Начальник станции The station master Невеста The fiancée, The bride, Betrothed. [A marriageable girl] Необходимое предисловие A prelude to a marriage Неосторожность A rash thing to do. [An inadvertence] Неприятная история An unpleasant business Несчастье The/A misfortune Неудача Foiled! Неудачный визит An unsuccessful visit Нечистые трагики и прокаженные Unclean tragedians and leprous прокаженные драматурги playwrights. Unclean playwrights, Dirty tragedians and [unclean] playwrights Ниночка Nino[t]chka Нищий The beggar Новая болезнь и старое средство A new illness and an old cure Новая дача The new [villa]

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] О вреде табака On the harmful/injurious effects of tobacco. Dangers of tobacco. Smoking is bad for you. [On the injuriousness of tobacco] О женщины, женщины! O women, women! О любви About/concerning love О том, как я в законный брак How I became lawfully wed/entered into вступил. Рассказец holy matrimony Обер-верхи [Heights] Обыватели [Aborigines] Огни Lights Он и она He and she Он понял! He understood Оратор The orator Орден The decoration Осенью In autumn Остров Сахалин Sakhalin, Island of Sakhalin Отец The father Отец семейства Head of the family Отрывок A fragment Ошибка A mistake, A blunder

Палата № 6 Ward no. six (no. 6 / 6) Панихида The requiem. [Panikhida] Пари The bet Певчие The choristers Перед затмением Before the eclipse Переполох The/An upheaval Пересолил Overseasoned, Overdoing it Печенег The Pechenyeg. [The savage] Письмо The letter Платонов [Безотцовщина] Platonov. [].[An early dramatic study]

106 По делам службы On official business, On duty Полинька [так] Polinka Попрыгунья The butterfly, The grasshopper После театра After the theatre Поцелуй The kiss Почта The post Праздничные The festivities Предложение The marriage proposal, The proposal Приданое The trousseau Признательный немец The grateful German Припадок A nervous breakdown, An attack of nerves, The seizure Произведение искусства A work of art, The objet d’art Происшествие. Рассказ ямщика An occurrence

Радость Joy. [Rapture] Размазня The milksop Разрушение равновесия Disturbing the balance Рассказ без конца A story without an end Рассказ госпожи NN A lady’s story Рассказ, которому трудно Hard to choose a name for this one подобрать название Рассказ неизвестного человека The story of a nobody, An anonymous story Рассказ старшего садовника The head gardener’s tale/a head-gardener’s story Реклама The advertisement Репетитор The tutor Роман адвоката. Протокол A lawyer’s romance. A protocol Роман с контрабасом A romance with a double-bass Рыбье дело A fishy story Рыбья любовь [Fish love]

С женой поссорился He quarrelled with his wife Сапожник и нечистая сила The cobbler and the devil Сара Бернар Sarah Bernhardt Свадьба At the/a wedding, The wedding reception

107 Свирель The reed-pipe, The pipe Святою ночью Easter Eve, Easter Night, The night before Easter Сельские эскулапы Village doctors Серьезный шаг A serious step Сила гипнотизма The power of hypnotism Сильные ощущения Strong impressions Симулянты Malingerers Сирена A Siren Скверная история. Нечто [Bad story (from a novel)] pоманоoбразное Скорая помощь First aid Скоропостижная конская The sudden death of a steed, or The смерть, или Великодушие magnanimity of the Russian people! русского народа! Скрипка Ротшильда Rothschild’s violin, Rothschild’s fiddle Скучная история A dreary story. [A boring story] . [A dull story] Следователь The examining magistrate Словотолкователь для «барышень» A glossary for young ladies Случай из практики A case history, A doctor’s visit Случай из судебной практики An incident at law Смерть чиновника The death of a civil servant, of an official, of a government clerk; The sneeze Сон репортера A reporter’s dream Соседи Neighbours Спать хочется Let me sleep, Sleepy Средство от запоя A cure for drinking. [To cure a drinking bout] Старость Old age Степь The steppe Стража под стражей The jailer jailed Страх Terror Страшная ночь A dreadful night Студент The student Суд The trial Супруга [The helpmate] Сценка из несуществующего A scene from an unwritten vaudeville

108 водевиля Счастье Happiness, Fortune

Тайна A mystery Тайный советник The privy councillor/council[l]or Талант Talent Тапер The ballroom dancer, The dance pianist

Татьяна Репина Tatyana Repina. [Tatyana Repin] Тина Тиф Typhus Толстый и тонкий Fat and thin, Lean and fat Трагик A tragic role Трагик поневоле (Из дачной An involuntary tragedian (from the life of жизни) vacationers), A reluctant tragic hero, The tragedian in spite of himself. [A tragic man despite himself] . [An unwilling martyr] Три года Three years. [The parasol] Три сестры Three sisters, The three sisters Тряпка The nincompoop Тссс! Hush!

У знакомых A visit to friends, All friends together У постели больного At the patient’s bedside, At the sickbed У телефона On the telephone Убийство Murder, A/The murder Унтер Пришибеев Sergeant Prishibeyev Устрицы Oysters Учитель The schoolmaster Учитель словесности The teacher of literature. [The Russian teacher]

Хамелеон The chameleon Хирургия The surgery, The dental surgeon Холодная кровь [Cattle-dealers] Хористка The chorus girl

109 Хорошие люди Excellent people Хороший конец A happy ending Художество Art

Чайка The seagull /Sea gull, Sea-gull/. [Chaika] Человек в футляре The man in a case, The man who lived in a shell. [A hard case] . [Encased] Черный монах The black monk Что чаще всего встречается What you almost always find in novels, в романах, повестях и т. п. stories etc. Elements most often found in novels, [short] stories etc.

Шампанское Champagne Шведская спичка The Swedish match, The safety match Шило в мешке Murder will out Шуточка A/The little joke

Экзамен на чин The civil service exam

Юбилей The/A jubilee

Язык до Киева поведет [A mouth as big as all outdoors] Ярмарочное «итого» [After the fair]

Mari d’elle Her husband

110