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Word: chekhovs (lookup in dictionary) (lookup stats)
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...Possessed (chiefly based on Dostoevsky's novel, adapted by George Shdan-off; produced by Chekhov Theatre Productions, Inc.). Ever since Dostoevsky first published his great novels, playwrights have gone about dramatizing them. The lure of powerful scenes, extraordinary characters, exciting dialogue is understandable but dangerous...

Author: /time Magazine | Title: The Theatre: Bad Play in Manhattan | 11/6/1939 | See Source »

Last week Director Michael Chekhov, nephew of famed Playwright Anton Chekhov, offered a dramatization of Dostoevsky's The Possessed. Probably the worst of all attempts to put Dostoevsky on the stage, it reduced the vast forest of his imagination to dead, sapless stumps. One grotesque, blighted scene followed another. The hero Stavrogin-one of the most astounding characters in fiction-became any confused young intellectual seeking an answer to life. The answer itself was pared down to a kind of Dos-toevsky-for-Tots...

Author: /time Magazine | Title: The Theatre: Bad Play in Manhattan | 11/6/1939 | See Source »

...Webster slid into directing because the field was less crowded, but admits she prefers acting. Though she professionally directed a score of plays in England, it was in the U. S. three years ago, with Evans' Richard II, that she first directed Shakespeare. Directing plans for next year: Chekhov's The Cherry Orchard. Some day: Shakespeare's Troilus and, Cressida, Macbeth...

Author: /time Magazine | Title: Theatre: Flushing-on-Avon | 5/22/1939 | See Source »

...refused to explain. "How should I know?" he told actors who asked him what it meant: "I am only the author." But Shaw provided meaning enough when he asserted that Heartbreak House is "cultured, leisured Europe before the War," just as he evoked mood enough when he acknowledged that Chekhov had sounded the same music in his Cherry Orchard...

Author: /time Magazine | Title: The Theatre: Marvelous Boy | 5/9/1938 | See Source »

...superb device reveals: in Act I, performing in a play of Constantine's she speaks his highfalutin but charged lines mechanically; in Act IV she repeats them, makes them live. It is in delimiting his characters without disfiguring them, in acknowledging their souls but questioning their perspective that Chekhov gives to The Sea Gull a kind of ember like glow...

Author: /time Magazine | Title: Theatre: Old Play and New | 4/11/1938 | See Source »

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