Word: ivanovic
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...first two, penned when he was 18, we know only the titles: The Fatherless, and Laugh It Off If You Can. At 21, he wrote the sprawling but remarkable Platonov, which turned up only long after his death, in the Soviet period. In his late twenties, he turned out Ivanov, a flawed but great and vastly underrated work capable of packing a tremendous wallop in performance; and the tentative, transitional The Wood Demon, which later also provided much of the plot of Uncle Vanya...
...Platonov and Ivanov, for instance, Chekhov dramatized an individual, and one tremendous performance can bring them off. From The sea Gull on, however, Chekhov was portraying a group; a star or two will not suffice. Here Chekhov has done away with the clear spine that drives through the play from one exciting event to another, from one "sock on the jaw" (Chekhov's phrase) to another; he has turned his back on the technique of say, Ibsen and Strindberg. He has, in effect, turned from the solo concerto with orchestra to the more subtle and contrapuntal interplay of chamber music...
...appeals involved two men who were convicted of conspiring to transmit U.S. defense secrets to the Soviet Union-an American engineer named John Butenko and Igor Ivanov, a chauffeur for a Soviet trade agency in the U.S. In their cases, and another that involved a pair of extortionists, the Government's position was that the trial judge should decide what portions of the eavesdropping transcripts were "arguably relevant" to the trial. He would then turn over those portions-and only those-to the defense...
...Between Ivanov, Chekhov's first full-length play and first single-shot suicide, and Yepikhodov's unfulfilled promise to "shoot myself so to speak" in Chekhov's last play, something has obviously happened. Laurence Senelick, directing his own translation of Cherry Orchard, pays proper attention to the writer's final, bitter playfulness by mouthing a production that breaks through the somber fragilitv of traditional Chekhovian staging to a vital if slightly fuzzy theatricality...
...hoary mist that has hung over productions of Chekhov spumed from Stanislavsky and the Moscow Art Theater: a distinctive technique marked by precise characterization, long pauses, distilled emotion, and tight pacing that presented the final pistol shots of an Ivanov or Seagull as the Q.E.D. of human tragedy, lucidly observed. In English-language productions, all this has been sustained by country-house diction supported by the characterological self-control necessary to maintain strong emotion over long sentences. These productions were, and are often powerful but they have two chronic diseases--boredom spawned by excessive refinement of speech and movement...