The Seagull

Infobox Play
name = The Seagull


image_size = 180px
caption = cover to the Dodo Press edition
writer = Anton Chekhov
characters = Madame Arkadina
Konstantin Treplyov
Sorin
Nina
Shamrayef
Pauline
Masha
Trigorin
Dorn
Medviedenko
Yakov
Cook
setting = A country estate
premiere = October 17, 1896
place = Aleksandrinsky Theater, St. Petersburg, Russia
orig_lang = Russian
genre = Tragicomedy
ibdb_id = 7804

"The Seagull" (Russian: "Чайка" ("Chayka")), written in 1895, is the first of what are generally considered to be Anton Chekhov's four major plays. It centres on the romantic and artistic conflicts between four theatrical characters: the ingenue Nina, the fading leading lady Irina Arkadina, her son the experimental playwright Konstantin Treplyov, and the famous middlebrow story writer Trigorin.

Like the rest of Chekhov's full-length plays, "The Seagull" relies upon an ensemble cast of diverse, fully developed characters. In opposition to much of the melodramatic theatre of the 19th century, lurid actions (such as Treplyov's suicide attempts) are kept offstage. Characters tend to speak in ways that skirt around issues rather than addressing them directly, a concept known as subtext.

The play has a strong intertextual relationship with Shakespeare's "Hamlet". Arkadina and Treplyov quote lines from it before the play-within-a-play in the first act (and the play-within-a-play device is itself used in "Hamlet"). There are many allusions to Shakespearean plot details as well. For instance, Treplyov seeks to win his mother back from the usurping older man Trigorin much as Hamlet tries to win Queen Gertrude back from his uncle Claudius.

The opening night of the first production was a famous failure. Vera Komissarzhevskaya, playing Nina, was so intimidated by the hostility of the audience that she lost her voice.Letter to A.F.Koni, 11 November 1896. [http://www.gutenberg.org/etext/6408 "Letters of Anton Chekhov", translated by Constance Garnett, New York, 1920, Macmillan.] Online edition at Project Gutenberg.] Chekhov left the audience and spent the last two acts behind the scenes. When supporters wrote to him that the production later became a success, he assumed they were just trying to be kind. [http://www.gutenberg.org/etext/6408 "Letters of Anton Chekhov", translated by Constance Garnett, New York, 1920, Macmillan.] ] When Constantin Stanislavski directed it in a later production for the Moscow Art Theatre, the play was a triumph.

urroundings

After his purchase of the Milikhovo farm in 1892, Chekhov had a lodge built in the middle of a cherry orchard consisting of three rooms, one containing a bed and another a writing table. In spring, when the cherries were in blossom, it was pleasant to live in this lodge, but in winter it was so buried in the snow that pathways had to be cut to it through drifts as high as a man. Chekhov eventually moved in and in a letter written in October 1895 wrote:

I am writing a play which I shall probably not finish before the end of November. I am writing it not without pleasure, though I swear fearfully at the conventions of the stage. It's a comedy, there are three women's parts, six men's, four acts, landscapes (view over a lake); a great deal of conversation about literature, little action, tons of love. ["Letters of Anton Chekhov", translated by Constance Garnett]

Thus acknowledging if not the intention at least the realization of the absence of traditional dramatic "action". The latter would become a critical hallmark of the Chekhovian theater. This statement also reflects his view of the play as comedy, a viewpoint he would maintain towards all his plays. After the play's disastrous opening night his friend Aleksey Suvorin chided him as being "womanish" and accused him of being in "a funk." Chekhov vigorously denied this stating:

Why this libel? After the performance I had supper at Romanov's. On my word of honour. Then I went to bed, sleptsoundly, and next day went home without uttering a sound of complaint. If I had been in a funk I should have run from editor to editor and actor to actor, should have nervously entreated them to be considerate, should nervously have inserted useless corrections and should have spent two or three weeks in Petersburg fussing over my "Seagull," in excitement, in acold perspiration, in lamentation.... I acted as coldly and reasonably as a man who has made an offer, received a refusal, and has nothing left but to go. Yes, my vanity was stung, but you know it was not a bolt from the blue; I was expecting a failure, and was prepared for it, as I warned you with perfect sincerity beforehand.

And a month later:

I thought that if I had written and put on the stage a play so obviously brimming over with monstrous defects, I had lost all instinct and that, therefore, my machinery must have gone wrong for good.

The eventual success of the play, both in the remainder of its first run and in the subsequent staging by the Moscow Art Theater under Stanislavski, would encourage Chekhov to remain a playwright and lead to the overwhelming success of his next endeavor Uncle Vanya, and indeed to the rest of his dramatic oeuvre.

Characters

* Madame Arkadina — an actress
* Konstantin Treplyov — her son, a playwright
* Sorin — Arkadina's brother
* Nina — daughter of a rich landowner
* Shamrayef — retired lieutenant, manager of Sorin's estate
* Pauline — his wife
* Masha — their daughter
* Trigorin — a well-known writer
* Dorn — a doctor
* Medviedenko — a schoolmaster
* Yakov — a laborer
* Cook

tory

Act I

The play takes place on a country estate owned by Sorin, a former government employee with failing health. He is the brother of the famous actress Arkadina, who has just arrived at the estate with her lover, Trigorin, for a brief vacation. In Act I, the people staying at Sorin's estate gather to see a play that Arkadina's son Konstantin Treplyov has written and directed. The play-within-a-play stars Nina, a young girl who lives on a neighboring estate, as the "soul of the world." The play is his latest attempt at creating a new theatrical form, and resembles a dense symbolist work. Arkadina laughs at the play, finding it ridiculous and incomprehensible, and Treplyov storms off in disgrace. Act I also sets up the play's many romantic triangles. The schoolteacher Medviedenko loves Masha, the daughter of the estate's steward. Masha, in turn, has an unrequited crush on Treplyov, who is courting Nina. When Masha tells the kindly old Doctor Dorn about her longing, he helplessly blames the moon and the lake for making everybody feel romantic.

Act II

Act II takes place in the afternoon outside of the estate, a few days later. After reminiscing about happier times, Arkadina engages the house steward Shamrayef in a heated argument, and decides to leave immediately. Nina lingers behind after the group leaves, and Treplyov shows up to give her a seagull that he has shot. Nina is confused and horrified at the gift. Treplyov sees Trigorin approaching, and leaves in a jealous fit. Trigorin, a famous writer, enters. Nina asks him to tell her about the writer's life. He replies that it is not an easy one. Nina says that she knows the life of an actress is not easy either, but she wants more than anything to be one. Trigorin sees the seagull that Treplyov has shot and muses on how he could use it as a subject for a short story: "A young girl lives all her life on the shore of a lake. She loves the lake, like a seagull, and she's happy and free, like a seagull. But a man arrives by chance, and when he sees her, he destroys her, out of sheer boredom. Like this seagull." Arkadina calls for Trigorin, and he leaves as she tells him that she has changed her mind, and they will not be leaving immediately. Nina lingers behind, enthralled with Trigorin's celebrity and modesty, and she gushes, "My dream!"

Act III

Act III takes place inside the estate, on the day when Arkadina and Trigorin have decided to depart. Between acts Treplyov attempted suicide by shooting himself in the head, but the bullet only grazed his skull. He spends the majority of Act III with his scalp heavily bandaged. Nina finds Trigorin eating breakfast and presents him with a medallion that proclaims her devotion to him using a line from one of Trigorin's own books: "If you ever need my life, come and take it." She retreats after begging for one last chance to see Trigorin before he leaves. Arkadina appears, followed by Sorin, whose health has continued to deteriorate. Trigorin leaves to continue packing. There is a brief argument between Arkadina and Sorin, after which Sorin collapses in grief. He is helped off by Medviedenko. Treplyov enters and asks his mother to change his bandage. As she is doing this, Treplyov disparages Trigorin and there is another argument, after which Treplyov leaves in tears. Trigorin reenters, and asks Arkadina if they can stay at the estate. She flatters and cajoles him until he agrees to return to Moscow. After she has left, Nina comes to say her final goodbye to Trigorin and to inform him that she is running away to become an actress, against her parents' wishes. They kiss passionately and make plans to meet again in Moscow.

Act IV

Act IV takes place during the winter two years later, in the drawing room that has been converted to Treplyov's study. Masha has finally accepted Medviedenko's marriage proposal, and they have a child together, though Masha still nurses an unrequited love for Treplyov. Various characters discuss what has happened in the two years that have passed: Nina and Trigorin lived together in Moscow for a time until he abandoned her and went back to Arkadina. Nina never achieved any real success as an actress, and is currently on a tour of the provinces with a small theatre group. Treplyov has had some short stories published, but is increasingly depressed. Sorin's health is failing, and the people at the estate have telegraphed for Arkadina to come for his final days. Most of the play's characters go to the drawing room to play a game of bingo. Treplyov does not join them, and spends this time working on a manuscript at his desk. After the group leaves to eat dinner, Treplyov hears someone at the back door. He is surprised to find Nina, whom he invites inside. Nina tells Treplyov about her life over the last two years. She starts to compare herself to the seagull that Treplyov killed in Act II, then rejects that and says "I am an actress." She tells him that she was forced to tour with a second-rate theatre company after the death of the child she had with Trigorin, but she seems to have a newfound confidence. Treplyov pleads with her to stay, but she is in such disarray that his pleading means nothing. She embraces Treplyov, and leaves. Despondent, Treplyov spends two minutes silently tearing up his manuscripts before leaving the study. The group reenters and returns to the bingo game. There is a sudden gunshot from off-stage, and Dorn goes to investigate. He returns and takes Trigorin aside. Dorn tells Trigorin to somehow get Arkadina away, for Treplyov has just shot himself.

Performance history

The first night of "The Seagull" on 17 October 1896 at the Alexandrinsky Theatre in Petersburg was a disaster, booed by the audience. Vera Komissarzhevskaya, who some considered the best actor in Russia, and who, according to Chekhov, had moved people to tears as Nina in rehearsal, was intimidated by the hostile audience and lost her voice. [Letter to A.F. Koni, 11 November 1896. [http://www.gutenberg.org/etext/6408 "Letters of Anton Chekhov".] ] The next day, Chekhov, who had taken refuge backstage for the last two acts, announced to Suvorin that he was finished with writing plays. [Letter to Suvorin, 18 October 1896. [http://www.gutenberg.org/etext/6408 "Letters of Anton Chekhov".] ] When supporters assured him that later performances were more successful, Chekhov assumed they were just being kind.

"The Seagull" impressed the playwright Vladimir Nemirovich-Danchenko, however, who said Chekhov should have won the Griboyedov prize that year instead of himself. [Benedetti, "Stanislavski: An Introduction, p 16.] It was Nemirovich-Danchenko who convinced Stanislavski to direct the play for the innovative Moscow Art Theatre in 1898.Benedetti, "Stanislavski: An Introduction", p 25.] Chekhov's collaboration with Stanislavski proved crucial to the creative development of both men. Stanislavski's attention to psychological realism and ensemble playing coaxed the buried subtleties from the play and revived Chekhov's interest in writing for the stage; while Chekhov's unwillingness to explain or expand on the script forced Stanislavski to dig beneath the surface of the text in ways that were new in theatre. [Chekhov and the Art Theatre, in Stanislavski's words, were united in a common desire "to achieve artistic simplicity and truth on the stage". Allen, p 11.]

Recent productions

The Joseph Papp Public Theater presented Chekov's play as part of the New York Shakespeare Festival summer season in Central Park from July 25, 2001 to August 26, 2001. The production, directed by Mike Nichols, starred Meryl Streep as Arkadina, Christopher Walken as Sorin, Philip Seymour Hoffman as Treplyov, John Goodman as Shamrayev, Marcia Gay Harden as Masha, Kevin Kline as Trigorin, Debra Monk as Polina, Stephen Spinella as Medvedenko, and Natalie Portman as Nina.

In early 2007, the Royal Court Theatre put on a production of "The Seagull" starring Kristin Scott Thomas as Arkadina, Mackenzie Crook as Treplyov and Carey Mulligan as Nina. It also featured Chiwetel Ejiofor and Art Malik. The production was directed by Ian Rickson, and received great reviews, including "The Metro Newspaper" calling it "practically perfect". It ran from January 18 to March 17, and Scott Thomas won an Olivier Award for her performance.

A more recent production was that of the The Royal Shakespeare Company, which did an international tour before coming into residence at the West End's New London Theatre until 12 January 2008, starring William Gaunt, Ian McKellen (who alternated with William Gaunt in the role of Sorin, as he also played the title role in "King Lear"), Richard Goulding as Treplyov, Frances Barber as Arkadina, Jonathan Hyde as Dorn, Monica Dolan as Masha, and Romola Garai as Nina. Garai in particular received rave reviews, "The Independent" calling her a "woman on the edge of stardom" [ [http://www.independent.co.uk/news/people/romola-garai-a-woman-on-the-edge-of-stardom-440326.html Romola Garai: A woman on the edge of stardom — People, News — Independent.co.uk ] ] , and "This Is London" calling her "superlative", and stating that the play was "distinguished by the illuminating, psychological insights of Miss Garai's performance." [ [http://www.thisislondon.co.uk/theatre/show-23377371-details/The%20Seagull/showReview.do?reviewId=23423456 The fall of a high-flying bird| Theatre | This is London ] ] Despite the grim plot, the play was written as a comedy and is preceded by the
King Lear".

The Classic Stage Company in New York City revived the work on March 13, 2008, in a production of Paul Schmidt's translation directed by Viacheslav Dolgachev. This production was notable for the casting of Dianne Wiest in the role of Arkadina, and Alan Cumming as Trigorin.

On September 16, 2008 the Walter Kerr Theatre on Broadway began previews of Ian Rickson's production "The Seagull" with Kristin Scott Thomas reprising her role as Arkadina. The following lists the entire cast for that production: Kristin Scott Thomas (Arkadina), Peter Sarsgaard (Trigorin), Mackenzie Crook (Konstantin), Art Malik (Dorn), Carey Mulligan (Nina), Pearce Quigley (Medvedenko), Peter Wight (Sorin), Zoe Kazan (Masha), Ann Dowd (Polina), Julian Gamble (Shamrayev), Christopher Patrick Nolan (Yakov), Mary Rose (Housemaid) and Mark Montgomery (Cook). [http://www.seagulltheplay.com/]

Notable Translations

References

Further Reading

*Allen, David, "Performing Chekhov", Routledge (UK), 2001, ISBN 978-0-415-18934-7
*Benedetti, Jean, "Stanislavski: An Introduction", Methuen Drama, 1989 edition, ISBN 978-0-413-50030-4
* Chekhov, Anton, "Letters of Anton Chekhov to His Family and Friends with Biographical Sketch", translated by Constance Garnett, New York, Macmillan, 1920. [http://www.gutenberg.org/etext/6408 Full text at Gutenberg]

External links

*gutenberg|no=1754|name=The Sea-Gull
* [http://ilibrary.ru/text/971/ Full text of "The Seagull" in the original Russian]
* [http://www.rsc.org.uk/onstage/plays/4656.aspx Cast List of 2007/8 RSC Production]