Anton Chekhov: the Major Plays with Focus on the Sea Gull, the Three Sisters, and the Cherry Orchard

Home , Anton (surname), As It Is In Life, John Sichel, The Cherry Orchard, The Duel (Chekhov novel), The Seagull

A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF ANTON CHEKHOV: THE MAJOR PLAYS WITH FOCUS ON THE SEA GULL, THE THREE SISTERS, AND THE CHERRY ORCHARD

by LISE KLOEPPEL SERIES EDITORS: JEANNE M. McGLINN AND JAMES E. McGLINN TEACHER’S GUIDE 2 A Teacher’s Guide to Anton Chekhov: The Major Plays

TABLE OF CONTENTS

INTRODUCTION...... 3 SYNOPSES OF THREE PLAYS...... 3 THE SEA GULL...... 3 THE THREE SISTERS...... 4 THE CHERRY ORCHARD...... 4 PREREADING ACTIVITIES...... 5 I. THINKING LIKE A DRAMATURG: BUILDING BACKGROUND KNOWLEDGE ON THE WRITER, GENRE, AND PERIOD...... 5 II. THINKING LIKE A DRAMATURG: BUILDING BACKGROUND KNOWLEDGE THROUGH INITIAL EXPLORATION OF THEMES...... 9 DURING READING ACTIVITIES...... 12 I. THINKING LIKE A DIRECTOR: SCRIPT, CHARACTER, & THEMATIC ANALYSIS...... 12 II. THINKING LIKE AN ACTOR: EXPLORING TEXT & SUBTEXT...... 15 AFTER READING ACTIVITIES...... 16 I. MAKING CONNECTIONS BETWEEN PLAYS...... 16 II. CREATIVE WRITING PROJECTS...... 17 III. PERFORMANCE-BASED PROJECTS...... 18 IV. MULTIMEDIA-INSPIRED PROJECTS...... 19 V. COMPARING TEXTS...... 20 ABOUT THE AUTHOR OF THIS GUIDE...... 20 ABOUT THE EDITORS OF THIS GUIDE ...... 20 FREE TEACHER’S GUIDES...... 23

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Printed in the United States of America A Teacher’s Guide to Anton Chekhov: The Major Plays 3

INTRODUCTION

Writing at the turning point of the nine- American filmmakers, the Coen brothers, teenth and twentieth centuries, Anton famous for Fargo, O Brother, Where Art Chekhov described a world in transition, Thou?, and The Big Lebowski, because of their which may be one of the reasons why his absurd, sad, and ridiculous tone. Viewing work still resonates with audiences today. Chekhov’s plays through this pop culture Next to Shakespeare, Chekhov is one of the lens may help to make them more immediate most often produced playwrights from the and alive to students. canon of world literature. Directors and In the classroom, Anton Chekhov’s Major actors gravitate to his layered characters and Plays can speak to the personal, historical, universal themes. His ability to balance the social, political, and cultural transitions stu- comedic and tragic and the pathetic and dents face today as technological and envi- ridiculous demonstrates his understanding of ronmental factors situate them in a time of human nature’s messiness. His characters are rapid change. How has their past shaped who full of contradictions and quirks just like they are today? What dreams do they have people in real life. for the future? What choices do they face? Chekhov once said, “It is time for writers to Have they dealt with failure or disappoint- admit that nothing in this world makes ment? What gives them hope? sense. Only fools and charlatans think they This guide is designed to provide an approach know and understand everything.” Even to teaching the plays of Chekhov focusing on though his plays portray the nonsensical side themes, character analysis, and dramatic of life, modern audiences can make sense of presentations. The before, during, and after his characters’ boredom, awkwardness, indif- reading instructional activities can be utilized ference, and embarrassment. Chekhov’s sense for one or all of the plays contained in this of humor enabled him to display the foibles anthology and serve to enrich the students’ of his characters, while showing reverence for experience of the plays and increase their human beings’ capacity to endure. Chekhov’s appreciation of the art and craft of theater. style has been compared to the work of the

SYNOPSES OF THREE PLAYS

The Sea Gull love with Nina, the lead actress in his play, who is attracted to Trigorin’s fame, which In this play Chekhov explores the lives of causes her to leave her home and pursue her artists and those around them. He takes an acting career in the city. eclectic mix of characters from various ages and occupations and creates a circumstance In two years time, Nina’s real life events play that forces them to interact. That circum- out like those of a fictional character in one of stance is the gathering of locals and visitors at Trigorin’s short stories. “A man comes along Sorin’s estate. The main action revolves by chance, sees her, and having nothing better around Arkadina (an aging actress visiting to do, destroys her, just like this sea gull here” from the city), Treplev (her son and aspiring (p. 123). Once an innocent and bright young playwright), Trigorin (Arkadina’s lover and woman, she returns to her hometown, ruined famous writer), and Nina (an aspiring and distraught, but still clinging to her dream actress). Arkadina and Treplev’s mother/son of becoming a famous actress. The support- relationship parallels that of Shakespeare’s ing characters fill out the story with love tri- Gertrude and Hamlet. Treplev seeks his angles, duels, and philosophical musings. The mother’s artistic approval while she seeks his characters are so preoccupied with their indi- undying affection. He is also passionately in vidual troubles that they seem to be incapable 4 A Teacher’s Guide to Anton Chekhov: The Major Plays of listening and empathizing with others. The duel with one of her former suitors. Strug- play ends with the sound of Treplev shooting gling between who they were in the past and himself as the household prepares for a game who they hope to become in the future, the of cards. They are so focused on what they do sisters are forced to reconcile their dreams not have that they fail to see what it is they do with reality. All they can do is simply work have until it is gone. and live. (See the “Forward” [pp. xii-xxiii] for The Three Sisters a detailed examination of this play.) The Cherry Orchard Exploring the decay of the aristocratic class in Russia, this play follows the Prozorov As the play opens Lyubov Andreyevna’s rela- family (Olga, Andrei, Masha, and Irina) over tives and servants await her return from Paris the course of four years. Having grown up in to the family’s prized cherry orchard estate. It the city of Moscow and then moving to their is the eve of its sale at auction to pay the current provincial Russian town, the family defaulted mortgage. This relatively straight- feels continually displaced and dreams of forward story exploring the rising middle returning to the “good life” of Moscow. The class and the falling aristocracy is complicated play begins on the day of the youngest sister by a colorful assortment of characters, Irina’s birthday, which also is the one-year including a clumsy clerk and a narcoleptic anniversary of their father’s death. Olga, the neighbor, whose antics arouse both pity and oldest sister, is unmarried and unhappy in compassion. A shrewd businessman named her job as a local teacher. Masha has a hus- Lopakhin, whose father and grandfather had band but pursues an illicit affair with a mar- worked as serfs on the estate, suggests a way ried man. Irina is single and chooses to ignore for Lyubov Andreyevna to earn money to pay the courting of her suitors until she bends to the mortgage by renting the property as the social pressure to marry the Baron. To his summer cottages. She is immediately sisters’ dismay, Andrei marries and has a child repulsed by this vulgar recommendation and with an “unsophisticated” and seemingly shy decides to host a dance rather than seek a local woman named Natasha who later solution to the problem. The evening ends asserts her dominance over the household. with Lopakhin triumphantly telling the story Andrei’s plan to become a scholar is thwarted of how he purchased the cherry orchard at by married life. In order to cope with his auction. His judicious reason and hard work despair, he begins gambling away the family’s have prevailed over the family’s sophistica- inheritance and eventually mortgages the tion and frivolous manners. house to pay off his gambling debt. In the last act, the house is bare and empty as To survive, the sisters exchange the cultured the family is forced to leave the only home knowledge of their upbringing for the they have ever known. Even after selling common and “boring” domestic life of work nearly all her material possessions, Lyubov and marriage. Questioning her will to live, Andreyevna cannot help but give her purse to Irina pleads: “Oh, my God, my God! I have the peasants as she bids them a final goodbye. forgotten everything, I’ve forgotten...it’s all Everyone has left except for Firs, the family’s muddled in my head....I can’t remember how old valet, who has been accidentally left to say window or floor in Italian. I’m forget- behind and has fallen ill. He silently passes ting everything, every day I forget, and life is away on the sofa as the audience hears the slipping by, never to return, never, we shall sound of a “snapped string mournfully dying never go to Moscow…” (p. 291). Irina ulti- away” followed by an ax cutting down a mately resigns herself to marrying the Baron, cherry tree in the orchard (p. 393). and the departure of the military from the town marks the end of an era for the Prozorov family. As Irina prepares for her wedding day, she learns that the Baron has been killed in a A Teacher’s Guide to Anton Chekhov: The Major Plays 5

PREREADING ACTIVITIES

I. THINKING LIKE A DRAMATURG: can read Rosamund Bartlett’s “Afterword” in BUILDING BACKGROUND the Signet Classics edition to find more KNOWLEDGE ON THE WRITER, examples of how his personal experiences GENRE, AND PERIOD impact the fictional world of his plays. A dramaturg is a very important member of Watch this 10-minute dramatized, first-per- the theatrical production team whose job is son narrative video about Chekhov with the to support the actors, directors, and designers students http://www.youtube.com/watch?v= by conducting in-depth research on the con- CY6ltI1n5Lo&feature=player_embedded. textual, literary, and historical aspects of the Discuss the following questions with them: production. They may help the director Why does Chekhov say he loves his family develop a cohesive concept. Working to even though he had a difficult childhood? contextualize the world of the play, the dra- What was it about the theater that was so maturg acquires a great deal of background appealing to him? What was happiness for knowledge about the playwright, play, genre, Chekhov? Who was Chekhov writing for? and other influences. What did the images and tone of the video tell them about who Chekhov was as a man Chekhov, the Man and the conditions of Russia during his life- Born on January 29, 1860, in Taganrog, time? Russia, the Ukrainian part of Russia near the Chekhov’s Point of View Black Sea, Anton Pavlovich Chekhov was the third of six children. His paternal grandfather To get a better sense of Chekhov’s point of bought himself out of serfdom, and his father view, ask students to reflect on some of his was a grocer who abandoned the family after famous quotes found at PoemHunter.com. his business went bankrupt. At the time, his In journal format, ask them to explain what mother and the rest of the family moved to they think the quote means, giving personal Moscow. After finishing his schooling, Chek- and specific examples to support their ideas. hov joined the family in Moscow and sup- • “He who desires nothing, hopes for nothing, ported them financially through his writings. and is afraid of nothing, cannot be an artist.” He went to medical school and became a physician. He was famous for saying, “Medi- • “Nothing lulls and inebriates like money; cine is my lawful wife and literature is my when you have a lot, the world seems a mistress, who is dearer to me than a wife.” better place than it actually is.” After graduation, he became a freelance • “They say that in the end truth will journalist and writer of comic sketches. He triumph, but it’s a lie.” started writing one-act plays and eventually • “You ask ‘What is life?’ That is the same graduated to full-length plays. He was diag- as asking ‘What is a carrot?’ A carrot is a nosed with tuberculosis and spent most of his carrot and we know nothing more.” time in the country where he wrote the majority of his plays. He died on July 14, • “Man has been endowed with reason, 1904, at the age of 44, and was buried in with the power to create, so that he can Moscow. His life experience of witnessing the add to what he’s been given. But up to changing rural and urban social structures now he hasn’t been a creator, only a permeates the characters and themes in his destroyer. Forests keep disappearing, plays. Also, Chekhov’s dual career as a scien- rivers dry up, wild life’s become extinct, tist and artist is apparent in his unique talent and the climate’s ruined and the land to harmonize the scientific and empirical grows poorer and uglier every day.” with the artistic and mysterious. Students 6 A Teacher’s Guide to Anton Chekhov: The Major Plays

• “Knowledge is of no value unless you put be just as complicated, and at the same it into practice.” time just as simple as it is in life. People eat • “Any idiot can face a crisis; it is this day- their dinner, just eat their dinner, and all to-day living that wears you out.” the time their happiness is being estab- lished or their lives are being broken up.” • “If you are afraid of loneliness, don’t marry.” (http://www.enotes.com/drama-criticism/ • “It seems to me that all of the evil in life pavlovich-anton-chekhov) comes from idleness, boredom, and psy- Ask students to reflect on their day and list all chic emptiness, but all of that is inevitable the mundane activities they completed. Tell when you become accustomed to living at them to include specific details. Rather than “I others’ expense.” brushed my teeth” encourage them to be more Chekhov, the Playwright specific and say “I brushed my teeth with an electric toothbrush.” Then, play the game Known as one of the greatest modern play- “Come my neighbor...” One at a time, each wrights, Chekhov’s works belong to the liter- student walks to an open space in the room ary style of Realism. At the time, over-the-top and calls out “Come my neighbor, anyone farces and melodramas were the standard fare who (insert an activity from their list).” For available to theater audiences. Chekhov example, “Come my neighbor, anyone who wanted to show the realness of people through brushed their teeth with an electric tooth- their relationships with each other. In contrast brush.” Then, anyone who also did this activ- to the stock characters of melodramas, his ity today should move toward the caller and characters had multiple dimensions. No one form a group. Continue in this way forming person was purely evil or wholly good. His new groups as each student gets a chance to be compassionate writing reflected the incon- the caller. Afterwards, discuss with the class if gruity of everyday life. Most audiences had they noticed any surprises. What did it feel never seen people who behaved and dressed like to be or not be a part of a group? How do similar to themselves on the stage. This style their everyday activities influence their indi- of storytelling radically changed people’s vidual and group identities? Can bus riders relationship to the theater and has continued relate to each other more easily than carpool to influence many of the television shows and riders? As they read Chekhov’s plays, have movies audiences view today. Students can them consider how different activities define read the “Forward” (p. vii-xii) for more infor- different social groups and notice how the mation on Chekhov’s writing style. Ask them simple observation of everyday life can be to outline the key points they learn. compelling and interesting on its own. Life As Is Docudrama Share this Chekhov quote with the students. Chekhov’s stimulus for writing was real life. “After all, in real life people don’t spend He is the master of everyday natural dialogue. every minute shooting at each other, hang- In 1888, in a letter to a friend, he wrote, “In ing themselves and making confessions of my opinion it is not the writer’s job to solve love. They don’t spend all the time saying such problems as God, pessimism, etc; his clever things. They’re more occupied with job is merely to record who, under what eating, drinking, flirting and talking stu- conditions, said or thought what about God pidities—and these are the things which or pessimism. The artist is not meant to be a ought to be shown on the stage. A play judge of his characters and what they say; his should be written in which people arrive, only job is to be an impartial witness. I heard go away, have dinner, talk about the two Russians in a muddled conversation weather and play cards. Life must be about pessimism, a conversation that solved exactly as it is. And people as they are— nothing; all I am bound to do is reproduce not on stilts…Let everything on the stage that conversation exactly as I heard it. Draw- A Teacher’s Guide to Anton Chekhov: The Major Plays 7 ing conclusions is up to the jury, that is, the create an image.” (http://threesisters.gallery- readers. My only job is to be talented, that is, forster.com/about_the_play.htm; Letter to to know how to distinguish important testi- Alexei Suvorin, May 30, 1888.) mony from unimportant, to place my char- Ask students to create a photo essay about a acters in the proper light and speak their day in their life. A photo essay is simply a language.” (http://threesisters.gallery-forster. collection of images that are placed in a spe- com/about_the_play.htm; Letter to Alexei cific order to tell the progression of events, Suvorin, May 30, 1888.) emotions, or concepts. Students can visit this Ask the students to capture on paper a two- website for examples: http://photophilan- person ordinary, everyday verbal exchange thropy.org/galleries/explore-essays/ Much they witness in real life. This may be in the like Chekhov’s blending of the objective and school cafeteria, waiting for their bus, or even subjective, photo essays combine art with at the dinner table. Encourage them to record journalism. During Chekhov’s time, photog- the dialogue exactly as they hear it, including raphy became a popular pastime. In The non-verbal words and sounds such as um, ah, Three Sisters, this new trend can be seen in sighs, or laughter. The length should be the character of Lieutenant Fedotik who is approximately one page. Have students share always snapping photos. The birth of pho- out loud their documented dialogues in class tography also greatly influenced the Realist with a partner and discuss each mini-docu- movement. People could look into the eyes of drama to discover the central theme. Ask someone they had never met or seen before students to sort each docudrama into a spe- and feel a connection with them that tran- cific category, i.e. the weather or relation- scended time and distance. ships, and then analyze the categories to see if Using digital cameras, have students take any patterns emerge. For example, how often photos over a 24-hour period. In order to do people complain or talk about how miser- find the “living truthful images,” tell them able they are? How often do people wish to not to prearrange or stage anything. Then, be somewhere else? How often are people have them choose and sequence ten photo- hopeful for the future? As students begin to graphs that capture the emotional journey of read the plays, encourage them to reflect their day from their unique point of view. upon this exercise and make connections The photos should flow together and be visu- between their everyday lives and those of ally connected. The students should exchange Chekhov’s characters. Do they know some- photo essays with a partner and write out one who “wear[s] morning” (p. 89) like captions for the photos without hearing the Masha in The Sea Gull or who openly admits real story from their partners. Share the his/her faults like Lyubov Andreyevna in The photos and captions with the whole class by Cherry Orchard but continues to make the posting the photo essays around the room. same mistakes? Invite students to move around and view the A Day in the Life Photo Essay gallery. Then, discuss how the captions enhanced or distracted from the photos. Read this quote by Chekhov to the students: How can an image tell a story? How did the “One has to write what one sees, what one students interpret the different images? feels, truthfully, sincerely. I am often asked what it was that I was wanting to say in this Chekhov’s Homeland: or that story. To these questions I never have KWL Group Research Presentation any answer. There is nothing I want to say. Create a class chart with three columns with My concern is to write, not to teach! And I the labels: What I Know, What I Want to can write about anything you like. ... Tell me Learn, What I Learned. Engage students in a to write about this bottle, and I will give you discussion about what they already know a story entitled ‘The Bottle.’ Living truthful about 19th century Russia. List this informa- images generate thought, but thought cannot 8 A Teacher’s Guide to Anton Chekhov: The Major Plays tion on the board in the first column. If dis- UNDERSTANDING agreements arise, suggest listing them in the RUSSIAN NAMES middle column under questions they want to When reading Chekhov’s plays for the first have answered. Then, tell students to catego- time, some students may have difficulty rize the information. Provide an example to understanding the characters’ names. They model how they might begin to combine may ask why they have so many names or ideas and concepts. Students can work indi- why their names keep changing. Begin by vidually or with a partner. Then, as a class, having the students reflect upon their own discuss the categories and arrive at consensus. names. Then, explain the significance of Working individually, students should having three names and the etiquette associ- develop a list of what they want to learn, ated with formal and informal name usages. generating research categories. In addition to Finally, encourage them to create their own the topics that interest the students, consider Russian names. incorporating the following: The Story of Your Name • The differences between Moscow & St. Petersburg On a piece of paper, have students create a mind map of their full names. Ask them to • Dueling (made legal among military brainstorm what they already know about officers in 1894 when Nicholas II the different parts of their names. This might became czar; Chekhov wrote a short story include the story behind how they received called “The Duel”) the name, the literal meaning of the name, or • Russian railways the language of origin. Students should share their maps with a partner, and then share • Pushkin what they discovered through a group discus- • 19th century Russian literature, painting, sion on the topic of names. How do their dance, and music cultural and ethnic backgrounds influence the construction and use of their names? Divide students into research groups. Assign What nicknames have they been called? Is each group specific research questions. Have there a story behind their nicknames? them use the websites provided below as well as other available media resources to com- Overview of Russian Names plete the last column, which describes what In Russia, people have three names—a given they have learned. Each group presents their (first) name, a patronymic (middle name), new findings to the class. and a surname (last) name. First names can Encyclopedia Britannica http://www.britan- vary in origin to include Hebrew, Latin, nica.com/EBchecked/topic/513251/Russia Greek, or Slavic. The patronymic is com- provides a comprehensive listing of facts and prised of the father’s given name, plus an information about Russia. The easy-to-use ending that means “of” (as in son or daughter “Table of Contents” allows students to of). These endings usually look like “-ov/ova/ quickly find a specific research area. ovna”, or “-ev/eva/evna”, or “-ich/ovich/ Russia and Empire, 1856-1903 http://www. evich.” (The versions ending with an –a fsmitha.com/h3/h47-ru.htm includes an identifies the daughter while the other end- overview of Russia in 1855, the freeing of the ings identify the son.) The root of a surname serfs, other reforms and technological prog- may simply be an adjective, a variation on a ress, the war against the Turks, expansion patronymic, or an occupational description. into Poland, student rebellions, assassination The most formal way of addressing someone attempts, and the beginnings of the Com- in Russia is by using the person’s given name munist Party. and patronymic. This is considered the appropriate way to address an unfamiliar or A Teacher’s Guide to Anton Chekhov: The Major Plays 9 respected person, such as a teacher, doctor, family’s hundred-year-old bookcase (p. 334- elder, or leader. Individuals who are more 335). Invite students to bring in an object or familiar with one another, such as family a picture of an object that holds sentimental members and friends, can use a given name value to them and share the item and story alone. Finally, a diminutive or nickname with a small group. Discuss: Why is it impor- might be used to show affection or conde- tant to them? How would they feel if they no scension. These can be created by adding longer had this object? “-ya”, “-ochka”, or “-ushka” to the end of a Childhood Memories name, or sometimes the nickname does not Freewrite & Tableaux resemble the given name at all. For example, Sasha is the diminutive for Alexander. Students can individually freewrite on a piece Here is an example: of paper about good and bad memories from their childhoods. Give the students a time Given name: Lyubov limit and encourage them to spend the whole Patronymic name (male name) time writing. When the time limit is up, ask identifying one’s father: Andreyevna the students to underline one good memory (daughter of Andrey) and circle one bad memory. Have all the students stand and close their eyes. At the same A surname (a family name): Ranevskaya time, ask them to create a spontaneous frozen Formal address: Lyubov Andreyevna image or tableau with their bodies that represents the good memory. Cue students by Familiar: Lyubov saying, “One, Two, Three, Freeze!” Now do Diminutive: Lyuba the same with the bad image. On a three- After explaining the basics of Russian names, count, have them seamlessly transition back to have students analyze different character the good image so they end the exercise with a names from the plays. This will help them positive feeling. Have the students respond in become more familiar and comfortable using writing to the following questions: In what these names when they begin reading the plays. ways have these memories shaped who you are today? How have they changed the decisions Create Your Own Russian Name you make? Have you ever tried to forget these Ask students to visit the following websites memories? Why? Can a good memory be also http://en.wikipedia.org/wiki/Russian_names a bad memory? How might a bad memory or http://www.foreigndocuments.com/rus- become a good one? Invite students who feel sian_names.html and encourage them to comfortable to share with the whole class or in create their own Russian names. Instruct small groups what they wrote. them to make nametags and refer to each SOCIAL CHANGE AND PROGRESS other by their Russian names throughout the unit on Chekhov. 2011 marked the 150th anniversary of the Emancipation Manifesto in Russia, which lib- II. THINKING LIKE A DRAMATURG: erated millions of serfs. Nearly one year after BUILDING BACKGROUND Chekhov’s birth, Tsar Alexander II proclaimed KNOWLEDGE THROUGH INITIAL the manifesto on February 19, 1861. http:// EXPLORATION OF THEMES www.newsahead.com/preview/2011/02/19/ MEMORY moscow-19-feb-2011-tsars- emancipation- manifesto-proclaimed-150-years-ago-/index. Sentimental Object Show-n-Tell php Russia was the last European country to Many of the characters in Chekhov’s plays abolish serfdom. This action reportedly influ- have attachments to materials that remind enced U.S. President Abraham Lincoln to ini- them of happier times. In The Cherry tiate the Emancipation Proclamation in 1863, Orchard, Gayev salutes the existence of the which officially ended slavery. 10 A Teacher’s Guide to Anton Chekhov: The Major Plays

Enslaved People and Serfs pation as unstable and uncertain for both lower and upper classes. The play became a social Serfdom evolved from agricultural slavery of commentary on Russian life in the early 1900s. the Roman Empire and spread throughout Europe around the 10th century, eventually Ask students to identify pressing social issues dominating the Middle Ages. Serfs were in their world. Discuss the following ques- people born into servitude and bound to the tions: Do these issues equally or dispropor- land. Unlike slaves, they were not considered tionately affect the lower, middle, and upper property of the landowner and could not be classes? Do students think these same prob- bought or sold apart from the land which lems existed during Chekhov’s time? What they worked. Ask students to research these are some modern examples of TV shows, websites to learn more about serfdom in 19th movies, plays, or books that comment on century Russia: http://www2.lse.ac.uk/lan- social injustices? How effective are they in guage/Ruslang/tolstoy/history.html or generating a true understanding of the issues http://en.wikipedia.org/wiki/Serfdom. Then and promoting social change? have students create a Venn diagram to show Rate Your Freedoms Continuum the similarities and differences between serfs and enslaved people. Have students compare Ask students, individually, to list and rank their diagrams with a partner and discuss the freedoms they possess. Discuss as a group, with the whole class what they learned about how they decided which freedoms were rated the lives and rights of serfs vs. slaves. highest. Collect the students’ writings. Post two signs on opposite ends of the room. One Class and Social Issues: should say “Most Important” and the other Then and Now “Least Important.” Read the freedoms the The Cherry Orchard is set during the time of students listed and ask the class to silently the transition in Russia when emancipated place themselves on the continuum based on serfs were given the opportunity to buy or how important that freedom is to them. The rent the land they had farmed. Many of the purpose of the exercise is not to challenge or wealthy landowners sold their land due to debate belief systems but to respect and rec- lack of agricultural or managerial knowledge ognize the diversity of opinions in the room. and moved to the cities to join the profes- Following this exercise, discuss with the stu- sional or commercial classes. In The Cherry dents the following questions: In what ways Orchard Firs represents the last living genera- might the story of enslaved people in the tion of former serfs. Americas mirror the story of former serfs in Russia? Is there a difference between social LYUBOV: Firs, if the estate is sold, where change and social progress? What constitutes will you go? progress? What does it mean to be free? FIRS: Wherever you tell me to go, I’ll go. Servant & Master Exercise LYUBOV: Why do you look like that? Students can explore the impact of social stand- Aren’t you well? You ought to go to bed. ing by engaging in the following exercise. In FIRS: Yes…. [With a smirk] Go to bed, pairs, have students decide who will be the and without me who will serve, who will master and who will be the servant. The objec- see to things? I’m the only one in the tive of the game is for the master to keep the whole house (p. 372). servant busy with as many tasks as they can Although legally he was free, the only life Firs complete. The orders should be immediate and knew was serving his master. Many wealthy continuous. The servant is not allowed to speak, families had become dependent on their ser- unless required to, and must obey all the mas- vants for their day-to-day survival. Chekhov ter’s commands. (Of course, always preface this portrays the time period following the emanci- activity by reminding students to be respectful of one another during game playing and never A Teacher’s Guide to Anton Chekhov: The Major Plays 11 ask someone to do something they would not tives and re-energize their thinking. Ask stu- be willing to do themselves.) Have students dents to respond in writing to the following reverse roles so each person gets a chance to story prompt: “Tell a story about a time you experience these opposing roles. Discuss which were affected by the natural world. What role was easier to play. Why? What emotions were the circumstances? Was there anyone did they feel as the servant and the master? How else with you or were you by yourself? How did they feel about the other person? Why? did you react? In what ways might you have Status Reversal Exercise been changed by this event?” Form circles of 4-5 people and go around the circle giving Give two students a scenario to act out. At the each student two minutes to tell their story. beginning of the scene, one character must be GENERATIONAL DIFFERENCES high status and the other low, but by the end of the scene they should reverse the status roles. Old vs. Young Pantomime Example: A manager (high) of a local grocery In Act II of The Sea Gull, Arkadina asks Dorn store is training a new cashier (low). The who looks younger—her or Masha. Dorn manager is not very patient with or respectful replies that she looks younger. Arkadina of the cashier. Later that night, when the affirms his response by explaining, “Because I cashier is driving home, they sees the manager work, I feel, I am always on the go, while you stranded on the side of the road. The manager’s [Masha] stay in the same place all the time, car has just broken down. After engaging in you don’t live...” (pp. 109-110). Engage stu- the role playing, ask students to journal about dents in a creative drama exercise to explore how they felt in each situation and how their this theme of aging. Explain that pantomime roles changed as a result of circumstances. is acting without using words and often Students can share their writing and discuss as involves the use of imagined objects, which a class how status impacts relationships. require the performers to create space objects CONNECTION TO THE that maintain their weight and size. The class NATURAL ENVIRONMENT can watch a video of Shelia Kerrigan http://www. Water Color Painting youtube.com/watch?v=Xns7RRpDFTg to learn more about pantomime. Then divide students In Act I of The Sea Gull, Arkadina is reading into small groups. Give each group a different Maupassant’s travel writing “On the Water.” everyday physical activity (making a bed, fold- Maupassant was a popular 19th-century ing laundry, watering plants, crossing a busy French writer of the naturalistic school con- street). Have each group prepare a pantomime sidered one of the fathers of the modern short performance that has a clear beginning, story. Have students read this story at http:// middle, and end. They will perform the activ- www.online-literature.com/maupassant/265/ ity three times—as themselves, as young chil- and discuss the impact of nature on the char- dren, and as older adults. All the groups acters. What relationship do the characters perform at the same time. Then ask if any have to water? What does water symbolize? group wants to share their performances with After discussing the story, ask student to think the whole class. Tell the class/audience to about a time when nature affected their mood. observe any changes that occur between each Then using watercolor paints ask students to performance. Discuss: What similarities exist create a visual representation of the natural between the various young pantomimes? event and to discuss with a partner what Between the old? Were the performances mood that natural setting evoked in them. believable and truthful or were they exagger- Nature Experience Storytelling ated and stereotypical? What qualities make someone or something young or old? How The notion of a retreat or the experience of might perceptions and stereotypes create con- new physical surroundings, especially in flicts between generations? What factors divide nature, allows people to gain new perspec- generations? In what ways are they similar? 12 A Teacher’s Guide to Anton Chekhov: The Major Plays

DURING READING ACTIVITIES

I. THINKING LIKE A DIRECTOR: Investigation SCRIPT, CHARACTER, After watching the clip for the first time, ask & THEMATIC ANALYSIS students to simply explain the action they see As Chekhov was developing as a writer, Con- without trying too hard to derive meaning stantin Stanislavski was spearheading the revo- from it. For example, a young woman was lutionary Moscow Art Theater (MAT) as he talking by herself while others sat and watched developed his own modern system of actor her, then a young man quickly walked over to training. Watch this 3-minute video with stu- her and she ran off. He then followed her off- dents to learn more about Stanislavski and the stage. Walking to the middle of the stage, an MAT: http://www.youtube.com/watch?v=j_ older woman began talking to an older man. dcTikQ_g8 Ask students to brainstorm TV Inference shows that seem melodramatic and shows that seem very realistic and true to life. Ask stu- Then, ask them to infer meaning from the dents to list the characteristics of a melodra- characters’ gestures and facial expressions by matic show vs. a realistic show. Which shows describing and even recreating the gestures are more appealing to them and why? What is and facial expressions they saw. For example, behind the current craze for reality TV? What the young woman used wide, expansive, and is the appeal of these shows? dramatic arm movements. As the men with Investigation, Inference, Invention the lanterns moved towards her, she looked (3 I’s) behind her, and her facial expression became panicked and afraid. The young man briskly Most students have little exposure to reading or walked to the center of the stage forcibly ges- even seeing dramatic literature; therefore, it is turing with his right hand. His face was mad important to teach them how to visualize what and angry. Probe the students to draw conclu- they read on the page. The acting teacher sions from the evidence provided in the video. Robert Barton offers one approach to analysis Run the clip again, asking students to attend known as the three I’s—investigation, inference, closely to facial expressions and movement. and invention. Investigation refers to the facts Invention provided in the text. This may include what the character says about him/her self or what char- Now ask the students to invent the story. acters say about each other. Any evidence the What might be the relationships between reader or viewer can see, hear, smell, or feel, he these characters? Are they family, friends, considers part of investigation. From these facts, strangers, neighbors, etc.? What is the moti- the students draw conclusions or inferences. vation behind their actions? Are they trying Finally, invention is filling in any blanks that the to convince, explain, entertain, plead, for- playwright may not have directly stated. Model give, or another action? for students how to fold a piece of paper into Repeat the exercise with Clip #2 except three columns. Label the columns “Investiga- rather than guiding the students through tion, Inference, Invention.” Explain how they each section ask them to quietly watch the will be viewing two different video clips twice in clip twice and take notes. a row without the sound. Students should take notes on their paper under each column. Clip #2 Hungarian production of The Three Sisters: http://www.youtube.com/ Clip #1 Opening scene from the Goodman watch?v=saiH6HJH2Zw Theatre’s production of The Sea Gull: http://video.nytimes.com/video/2010/10/27/ After watching the clips, have students dis- theater/1248069246989/the-seagull.html cuss in small groups what they observed about each clip, noting similarities and dif- A Teacher’s Guide to Anton Chekhov: The Major Plays 13 ferences. Then, designate one person from Character Relationship Map each group to report to the whole class what The director’s job is to tell the story of the they learned. Discuss why it is important for play as clearly and effectively as possible; students to learn to visualize the action on therefore, they must thoroughly understand stage while reading. What information do who the characters are and how they relate to they anticipate being the easiest to visualize? one another in order to stage and coach the The most difficult? actors. As your students read the plays, create a semantic map that gives a brief description of the characters and maps their biological, romantic, and/or occupational connections. Example from The Three Sisters:

PROZOROV FAMILY NATASHA (Andrei’s wife) ANDREI (brother) BOBIK & SOFOCHKA (their children) OLGA (oldest sister & schoolteacher)

MASHA KULYGIN (middle sister) (Masha’s husband)

IRINA BARON TUZENBACH (youngest sister) (Irina’s fiance)

MILITARY NEIGHBORS VERSHININ SOLYONY CHEBUTYKIN (Masha’s lover) (Irina’s suitor) (Army doctor & family friend)

FERDOTIK RODAY SERVANTS

FERAPONT ANFISA

Discussion Questions 2. What is the significance of the lotto game? A good director knows how to ask and respond to questions. Invite students to 3. Why does Treplev attempt to shoot develop their own list of discussion ques- himself? tions. Encourage them to include a variety of 4. In what ways is the play a comedy? In comprehension and evaluative questions. what ways is it a tragedy? Here are some to consider: 5. What does Arkadina mean when she says The Sea Gull to Trigorin, “…your characters are like 1. What does it mean to be “Bohemian”? living people.” (p.135)? How does this (p. 95) contrast the characters in Treplev’s plays? 14 A Teacher’s Guide to Anton Chekhov: The Major Plays

6. Why does Nina sign her letters to for each of the main characters: Olga, Treplev as “the sea gull”? Masha, Irina, Vershinin, and Andrei. 7. Plays generally have a main character, 8. Throughout the play, Chekhov uses or protagonist. Who would you say is irony to comment on the contradictory the protagonist of this play and why? nature of the characters and to illustrate 8. Is there an antagonist? If so, who would it be? the paradox between their actual and the ideal worlds. Identify ironic 9. When analyzing the plot structure, moments in the play. what would you say is the turning point 9. Analyze the symbolism behind Natasha or climax in the play and why? lighting and extinguishing the candles, 10. Would you consider any of these the town fires, and Andrei pushing the characters innocent victims or do you baby carriage. think they got what they deserved? 10. Why does Irina decide to marry the Baron? How might different choices result in different outcomes? 11. Why don’t the sisters ever go to Moscow? The Three Sisters The Cherry Orchard 1. Tuzenbach says, “The time has come, 1. What is suggested by the start of The something tremendous is hanging over Cherry Orchard occurring at dawn with our heads, a powerful, invigorating cherry trees blossoming in cold weather? storm is gathering; it is coming, it’s Why does the first act occur in a already near, and will blow away nursery? What is the significance of the indolence, the indifference, the trains arriving or departing? prejudice against work, the rotten 2. At the beginning of each act, how does boredom of our society” (p. 235). What the time, season, and location set a might this “something” be? particular tone that complements or 2. What is the occasion for the gathering? contrasts the action of the story or Why does Masha decide to leave? (p. 237) psychological state of the characters? 3. “Today there are no torture chambers, 3. Who are Lopakhin and Dunyasha no executions, no invasions, and yet, waiting for? Why did Anya go to Paris how much suffering” (p. 243). What with Charlotta to retrieve her mother? kind of suffering is Tuzenbach referring How long has Lyubov been away? Why to? Is this type of suffering going on in did she leave? America today? 4. Chekhov considered The Cherry Orchard 4. In what ways are the Prozorovs different a comedy. Identify farcical moments from the local people of the town? throughout the play. How do these bits 5. Who is Bobik? How has his presence of action help to heighten the more impacted the Prozorov family? serious moments? 6. How does Natasha’s personality change 5. Does the servant class perceive the cherry from act to act? Why do the sisters orchard differently from its owners? allow Natasha to take over their home? 6. Lopakhin says to Lyubov, “All I want is 7. Vershinin states, “Happiness is that you should trust me as you used something we never have, but only long to…” (p. 331). Should Lyubov trust for” (p. 268). Either agree or disagree Lopakhin? Why or why not? with this proposition and give real-life 7. Why does Lyubov not agree to examples which support your position. Lopakhin’s plan for the cherry orchard? Identify the main source of unhappiness A Teacher’s Guide to Anton Chekhov: The Major Plays 15

8. Firs says, “Forgotten. Nobody remem- images as the class interprets them. This is bers…” (p. 334). What has literally and less about playing charades (although the figuratively been forgotten? students should read their quotes afterward) 9. Many of the most important and and more about prompting the students to traumatic events in the play either happen make meaning from visual pictures and begin before the play’s action begins or off- to see how the cliché “actions speak louder stage. Why would Chekhov stage some of than words” applies to this exercise and also the most dramatic events this way? What to Chekhov’s plays. effect does this have on the play? II. THINKING LIKE AN ACTOR: EXPLORING TEXT & SUBTEXT 10. What do you feel about Lyubov, considering the way she acts or is In the “Afterword,” Bartlett references Peter treated in the play? Is she likeable or Brook’s observation of Chekhov’s ability to not? Explain why. orchestrate “theatrical poetry” by employing 11. Is the Ranevsky family doomed to lose “the right word at the right moment” (p. the cherry orchard? What does Trofimov 401). “Living truthfully under imaginary suggest are the historical causes behind circumstances” is Stanislavski’s definition of the loss? (p. 360) acting. Finding the character’s psychological motivation is the foundational work of any 12. What is the meaning of Gayev’s actor preparing for a role. This is especially constant use of expressions used in the true of Chekhov’s characters who have game of billiards e.g. “cue ball into the strong, sincere needs and desires. center” (p. 385)? Why is he always eating candy? Thought-Tracking Group Sculptures Have students perform selected scenes from the plays. At any point in the scene, call A director must also visually tell the story. “Pause” so students will stop the action. Before beginning rehearsals, a director typi- Then, place your hand above the head of one cally blocks the show by determining where of the characters and tell the rest of the class and how the actors will move on stage and to imagine your hand is a thought bubble what visual images they will leave in the audi- like in a comic strip. Ask them to speak out ence’s mind. Divide students into groups of loud what the character is thinking at that 4-5 students. Pass out one quote from key particular moment. dramatic moments in the plays to each group. Text vs. Subtext Examples: Do characters always say what they feel? The Three Sisters Act III, p. 286 Subtext is the meaning underneath the actual CHEBUTYKIN [drops the clock, which text or words the characters are speaking. smashes]: Smashed to smithereens! Chekhov’s vision of reality as a playwright The Three Sisters Act IV, p. 317 sought to present life from a scientific, objec- OLGA [embracing both her sisters]: tive point of view or what he referred to as The music plays so gaily, so valiantly, “life as it is.” He avoided didactic and con- one wants to live! trived writing by minimizing the temptation The Cherry Orchard Act III, p. 377 to show “life as it ought to be.” He wrote in a way that trusted the actor’s ability to fill in LOPAKHIN: I bought it. the subtext of the characters. Each group should create three frozen pic- Give two students an activity, a situation, and tures with their bodies that illustrate the a topic of conversation. They must stick before, during, and after actions connected solely to the topic of conversation. Example: to their quote. Then, each group shares their A couple is packing a suitcase. He is going off 16 A Teacher’s Guide to Anton Chekhov: The Major Plays to war. They discuss only the weather. Ask create a visual graph to mark the character’s students to suggest other situations. After journey toward reaching his/her objective. pairs have tried out at least one conversation, Silence Improvisation discuss what they discovered about the relationship between text and subtext. Chekhov said, “Silence accompanies the most significant expressions of happiness and Alternatively, choose a scene from the play. unhappiness: those in love understand one Have the students write out the subtext for a another best when silent, while the most particular character. Here are some suggested heated and impassioned speech at a graveside scenes from The Three Sisters: touches only outsiders, but seems cold and • p. 244-245 starting with Andrei’s entrance inconsequential to the widow and children of and ending with Irina’s line “Bravo, bravo! the deceased.” (http://www.readcentral.com/ Bis! Andryusha is in love!” author/Anton-Chekhov/quotes) Working in • p. 252-253 starting with Natasha’s entrance pairs, students are given a scenario (who, and ending with Fedotik and Roday’s what, where). The tension is so strong entrance. between the two characters that they are unable to speak. They must communicate • p. 295 Andrei’s monologue about Natasha. the “who, what, and where” of the scene in • p. 307-308 starting with Irina and silence, using no dialogue. Examples: two Tuzenbach’s entrance and ending with siblings are waiting in the emergency room to Tuzenbach’s exit. hear the status of their younger sibling who was in a car accident; a teacher keeps a stu- Character Objective Graph dent after class for cheating on a test; a parent Ask students to choose a character from one and child are cooking dinner after the parent of Chekhov’s plays to analyze as they read the reveals that they are getting a divorce. play. They can consider the character’s pri- Encourage students to look and really see one mary objective by asking the following ques- another. Have pairs share their improvisa- tions: What does the character want most of tions with the class and evaluate how effec- all? What obstacles prevent them from get- tively they were able to communicate ting what they want? How is this objective through the silence. Ask students to identify different or in opposition to the other char- key moments of silence in Chekhov’s plays. acters’ objectives in the play? How might Some examples are on the following pages: opposing objectives create dramatic tension 242, 261, 341, 353, 377. Discuss: How does and conflict? In what ways is the character’s Chekhov use pauses for characterization? objective met or not met? Have the students What effect does silence have dramatically?

AFTER READING ACTIVITIES

After reading the plays, students are ready to 1. The three plays focused on in this guide make connections and engage in activities tell the story of the downfall of aristocratic which deepen their understanding of Chek- families. Compare and contrast the main hov’s artistry and themes. sets of characters, in terms of personality, I. MAKING CONNECTIONS speech and language, actions, and morality. BETWEEN PLAYS 2. What do Chekhov’s plays say about the roles of women during his time? Are If students read more than one of Chekhov’s there any noticeable generational pat- plays, the following prompts and questions terns between the women of his plays? can lead to whole class discussion or topics What roles were available for men? for essay writing. How are the roles of women and men A Teacher’s Guide to Anton Chekhov: The Major Plays 17

in the plays similar or different from II. CREATIVE WRITING PROJECTS current conceptions of gender roles? Trading Places Short Story or Play 3. What love relationships are developed in In Act II of The Sea Gull, Nina says to Trigo- the plays and how do they each end? Why rin, “And I should like to be in your shoes... does Trofimov say that he is not interested To find out how it feels to be a famous, gifted in love? Why is love often a target of writer. What does it feel like to be famous? criticism in the plays? Why is love How does it affect you?” (p. 119). Many of perceived as a problem? (For example, Chekhov’s characters desire to be someone look at p. 367-370.) What factors else. Discuss with the students if they have influence how love is given and received? known anyone who wanted to trade places 4. What does the idea of work offer with another person. Why? What do they Chekhov’s characters? How is work assume about the other’s person’s life? What measured and valued? (p. 234, 355) would happen if they could trade? Would How is Chekhov’s view of work similar they be different? After discussing these per- or different from modern-day American sonal experiences with students ask them to viewpoints? write a short story or play about a character 5. How are the motifs of age and memory who trades places with someone else. treated by Chekhov? How are men like Thinking like a Playwright Ferapont and Firs similar? Have students read and/or listen to Chek- 6. At the end of The Cherry Orchard, what hov’s short story “Misery” about a sledge do the contrasting actions between the driver dealing with the grief of losing his son younger (Anya/Trofimov) and older and having no one to talk to about his misery (Lyubov/Gayev) couples say about gen- except for his mare. erational attitudes towards societal shifts? Audio recording by Kenneth Branagh: 7. Vershinin and Tuzenbach express two http://www.youtube.com/watch?v=wFLhL1BJ contrasting philosophies about the rrM&list=PL92A3C135220A7135&index=6 future. Describe how their viewpoints Link to written text: http://classiclit.about.com/ differ. Which one most closely aligns library/bl-etexts/achekhov/bl-achek-misery.htm with students’ belief systems? Do students look to the future with Discuss with the students how the story’s optimism or pessimism? Why? plot, characters, and/or themes are similar to or different from ones in Chekhov’s plays. If 8. Revisit the endings of all three plays. the students were asked to adapt this story Notice how all end with a death. Why into a short play that speaks to a 21st century does Treplev commit suicide? Is audience, what essential elements of the play Tuzenbach’s death a blessing or a curse would they preserve to stay true to Chekhov’s for Irina? Why is Firs left behind to die original intentions? How important is the alone? What do the final stage directions protagonist’s occupation to the story? How mean? Is Firs’ death sad or peaceful? important is it that in the end the only person What feelings do the students have the protagonist can open up to is an animal? about the endings? How might they What details might they consider changing react if they were audience members to make it more appealing to a contemporary seeing a live production of these plays? audience? For example, what if Iona was a 9. In what ways do the physical landscapes taxi driver with a calico cat named Moxie? of the plays reflect or contrast the inner For a more extensive project, students might psychological and/or emotional life of adapt the story into dramatic form and per- the characters? For example, why does form it for other classes. The Sea Gull occur near a lake? 18 A Teacher’s Guide to Anton Chekhov: The Major Plays

III. PERFORMANCE-BASED Chekhov Trailer PROJECTS The purpose of a trailer is to capture the feel- Moscow Monologue ing and mood of the play and entice people to come see the show. For this project, ask Discuss with students the significance of students in groups to create a trailer for one “going to Moscow.” How might “Moscow” of Chekhov’s plays. Students can view an be a metaphor to explain a larger concept? example of a trailer from the Lyceum The- Do any of the characters or relationships in atre’s production of The Cherry Orchard: the plays remind them of someone they know? How and why? Ask students to write http://www.youtube.com/watch?v=kBuFkjT and perform a monologue of a person who 1HC4&feature=related longs to be somewhere else. IV. MULTIMEDIA-INSPIRED What is Success? Ted Talk PROJECTS TED Talks http://www.ted.com/talks have Real Life Comic Strips become a popular way for big thinkers to Divide the class into groups and have them share their ideas with the masses. Revisit storyboard the events of the play. This can be Trigorin’s monologue about success (p. 122). quick stick figure drawings that outline the Have students create a “TED Talk” (a 3-5 essential action and moments in the story. minute monologue) defining what success Depending on the size of the group and time looks like to them. Students can share their limitations, consider giving each group a spe- monologues in small groups. cific act or scene rather than the entire play. Comedy vs. Tragedy Debate Tell them to play close attention to the visual composition of the images and facial expres- Begin by asking students to brainstorm sions. Then, the students should re-create the characteristics of comedy and tragedy. Then, images with their bodies and take photos of discuss whether or not they think the differ- each image. To complete the project, they can ent plays are a comedy, a tragedy, or some select a template, sequence their images, and other category. What would they call this add captions. The images might then be pre- new category? Encourage them to support sented on presentation software such as Pow- their claims with details from the script. Stu- erPoint or Comic Life (http://plasq.com/ dents form debate teams, and the teacher acts products/comiclife2/—this is a relatively as the judge, probing the students to articu- inexpensive, student-friendly software). late a sound argument and support it with evidence. Tell the students to provide “video” Character Collage evidence, which could be in the form of a live Using a piece of poster board, create a visual or pre-recorded performance of scenes or collage from recycled magazines or images moments from the plays they discuss. found on the Internet for one of the charac- Chekhov 101 Sketch Comedy ters. Include at least the following: Some say parody is the highest form of flat- • Character’s External Life: name; clothing tery. Students should be familiar with parody that represents the character’s personal style; and sketch comedy already, but if they are objects that are important to the charac- not, then show this video of a parody of ter; animals that evoke similar movements Chekhov http://www.youtube.com/watch?v as the character; occupation; family. =wQHovMQ8ZlI&feature=related • Character’s Internal Life: colors that sug- Students can work in groups to write and gest the character’s personality or mood; perform their own Chekhov sketch or parody. images and words that represent the character’s dreams; images and words that represent the character’s fears; abstractions A Teacher’s Guide to Anton Chekhov: The Major Plays 19

(i.e. modes of transportation, toys, music, and is open to multiple interpretations)? art or other abstract, symbolic items that How might the set & lighting designs reflect represent the character). the themes present in the play? Where is the Chekhov Playlist audience in relationship to the actors? Are they sitting only on one side, three sides or all Visit this website to see how Ben Greenman around? created a playlist for some of Chekhov’s short Here is a list of film versions of Chekhov’s stories: http://artsbeat.blogs.nytimes.com/2010/ plays. Some clips are available on YouTube. 10/13/living-with-music-a-playlist-by-ben- greenman-2/?hp Ask students to create a playl- The Sea Gull ist for one of Chekhov’s plays. Have them Dir. Sidney Lumet. Warner Brothers/ choose songs that support or comment on the Seven Arts: 1968. action, characters, or themes of the plays. Ask them to state the reasons for their choices as Dir. Yuli Karasik. U.S.S.R: 1970. they present their playlists in small groups. http://www.youtube.com/ Celebrity Chekhov watch?v=XCNiXqF5uEo (in Russian with English subtitles) “Celebrities with Character” http://celebri- tieswithcharacter.blogspot.com/ is a blog site Dir. Michael Lindsay-Hogg. BBC: 1974. created by Ben Greenman inspired by his Dir. John J. Desmond. Williamston book Celebrity Chekhov which “reimagines Theatre Festival: 1975. the short stories of Anton Chekhov with modern celebrities in the place of the original The Three Sisters characters.” The purpose of the site is “to Dir. Paul Bogart. Commonwealth United allow readers to interact directly with their Entertainment: 1966. favorite celebrities in an attempt to see how modern celebrity is constructed and/or Dir. Cedric Messina. BBC: 1970. deconstructed.” Have students create and Dirs. Laurence Olivier and John Sichel. send submissions or design a similarly Lion International Films: 1970. inspired blog site focused on the characters in http://www.youtube.com/ Chekhov’s plays. watch?v=saiH6HJH2Zw Thinking like a Designer The Cherry Orchard Ask students to choose a scene from one of the plays and take the role of the stage Dir. Michael Elliot. BBC: 1962 designer, describing the costumes, set, and/or http://www.youtube.com/ lighting. Before beginning, encourage stu- watch?v=eeFMWSbincc dents to seek inspiration from other famous Dir. Richard Eyre. BBC: 1981. productions by researching production photos and reviews. Encourage them to pay http://www.imdb.com/video/screenplay/ attention to the visual, aural, and spatial ele- vi1931936537/ ments. What colors, textures, shapes, and http://www.imdb.com/video/screenplay/ lines are used? How do the costumes reflect vi489030425/ the differing backgrounds, activities and opinions of the characters? Are the designs Dir. Mihalis Kakogiannis. Melanda Film naturalistic (exactly as one might find in Productions: 1999. them in real life), suggestive (gives the audience just enough to activate their imagina- tions into filing in the blanks) or abstract (something one is not likely to find in real life 20 A Teacher’s Guide to Anton Chekhov: The Major Plays

V. COMPARING TEXTS Treplev and Arkadina and Hamlet and Ger- Comparing The Sea Gull & trude. What other traces of Hamlet occur in Shakespeare’s Hamlet The Sea Gull? What plot elements, such as dueling or a play-within-a-play, are in both If students are reading The Sea Gull, consider plays? How is Nina similar to or different having them read Shakespeare’s Hamlet as a from Ophelia? comparative text. Chekhov expressed his Comparing Chekhov & Tolstoy admiration of Shakespeare by including sev- eral direct and indirect references in his first Have students read the section of Leo Tolstoy’s play, The Sea Gull. Encourage students to epilogue of War and Peace that references the closely examine how the character relation- breaking string. What is the meaning of this ships within the two plays mirror each metaphor? How does it relate to the story other—the mother/son relationship between Chekhov tells in The Cherry Orchard?

ABOUT THE AUTHOR OF THIS GUIDE

LISE KLOEPPEL is an Assistant Professor and community cultural development. She of Drama at the University of North Carolina received her MFA in Theater for Youth from Asheville. In addition to coordinating the Arizona State University and is K-12 Theater K-12 Theater Arts Licensure Program, she Arts licensed in the state of North Carolina. teaches courses in acting, theater education,

ABOUT THE EDITORS OF THIS GUIDE

JEANNE M. McGLINN, Professor in the JAMES E. McGLINN, Professor of Educa- Department of Education at the University tion at the University of North Carolina at of North Carolina at Asheville, teaches Chil- Asheville, has taught high school English and dren’s and Adolescent Literature and directs developmental reading at all levels, elemen- the field experiences of 9-12 English licen- tary through adult. His research interests sure candidates. She serves on various edito- focus on motivating and increasing the read- rial and professional boards, and is the chair ing achievement of students in high school elect of the Language Experience Special and college. He is the author and editor of Interest Group of the International Reading numerous Signet Classics Teachers’ Guides. Association. She has written extensively in the area of adolescent literature, including a critical book on the historical fiction of adolescent writer Ann Rinaldi for Scarecrow Press Young Adult Writers series. A Teacher’s Guide to Anton Chekhov: The Major Plays 21

NOTES 22 A Teacher’s Guide to Anton Chekhov: The Major Plays

NOTES A Teacher’s Guide to Anton Chekhov: The Major Plays 23 FREE TEACHER ’ S G U I D E S

A full list of Teacher’s Guides and Teacher’s Guides for the Signet Classic Shakespeare Series is available on Penguin’s website at: us.penguingroup.com/tguides TEACHER’S GUIDES Adventures of Ethan Frome A Narrative of the Life The Scarlet Letter Huckleberry Finn The Fountainhead of Frederick Douglass, The Scarlet Pimpernel Animal Farm An American Slave Frankenstein Nectar in a Sieve The Secret Life of Bees Anthem The Grapes of Wrath Silas Marner n 1984 Atlas Shrugged Great Expectations Sophocles: n The Odyssey The Awakening n Heart of Darkness The Complete Plays Beowulf Of Mice and Men A Streetcar Named Desire Incidents in the One Day in the Life The Call of the Wild Life of a Slave Girl of Ivan Denisovich A Tale of Two Cities Cannery Row Jane Eyre The Pearl A Thousand Splendid Suns n Chekhov’s Major Plays A Journey to the Center The Time Machine of the Earth Persuasion City of God n The Phantom Treasure Island The Country of the Pointed The Jungle of the Opera Two Years Before the Mast Firs and Other Stories The Kite Runner n Plays of Sophocles Up from Slavery The Crucible Listening is an Act of Love n Poems by Robert Frost The Wal-Mart Effect Dear Zoe Looking Backward Pride and Prejudice Washington Square Death of a Salesman Lysistrata The Prince and the Pauper We the Living Doctor Faustus Main Street Pygmalion The Women of A Doll’s House The Mousetrap Ragged Dick Brewster Place Dr. Jekyll and Mr. Hyde and Other Plays Wuthering Heights My Ántonia A Raisin in the Sun Dubliners The Red Pony TEACHER’S GUIDES FOR THE SIGNET CLASSIC SHAKESPEARE SERIES Antony and Cleopatra Julius Caesar A Midsummer Richard III As You Like It King Lear Night’s Dream Romeo and Juliet Hamlet Macbeth The Merchant of Venice The Taming of the Shrew Henry IV Part I Measure for Measure Much Ado About Nothing The Tempest Henry V Othello Twelfth Night n New Titles PENGUIN GROUP (USA) INC. Academic Marketing Department 375 Hudson Street New York, NY 10014-3657

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