Выбрать главу

Fírs

Fonvízin

Fyódor

Fyódorovich

Fyódorovna

Gáev

Gavríla

Gavrílych

Gavrúsha

Gerásim

Gerásya

Glagólyev

Glínka

Gógol

Grékova

Grendilévsky

Grigóry

Grísha

Grokhólsky

Grúzdev

Gúsev

Hánsen

Ignátyevich

Ilyá

Ilyích

Irína

Iván

Ivánov

Ivánovich

Ivánovka

Ivánovna

Izmáilov

Izmáilovka

Kanítelin

Kardámonov

Kárlovich

Kárp

Kashalótov

Kashkinázi

Kátya

Khamónyev

Kharlámov

Kharlámpy

Khárkov

Khírin

Khrápov

Khrushchóv

Kíev

Kiríllych

Kirpichyóv

Kirsánovsky

Kocháne

Kokóshkina

Kólya

Kolotílin

Konstantín

Konstantínovich

Korchágin

Korólkov

Kóstya

Kosykh

Kotélnikov

Kozoédov

Kózyrev

Krasnúshkina

Krylóv

Kubán

Kulygin

Kúritsyn

Kuzmá

Kuznetsóv

Lébedev

Ledentsóv

Lénochka

Lénsky

Lentóvsky

Leoníd

Lérmontov

Lezgínka

Líka

Lomonósov

Lómov

Lopákhin

Luká

Lukích

Lukínishna

Lvóvich

Lyónya

Lyóv

Lyúba

Lyubóv

Lyubvín

Lyudmíla

Máikov

Mákar

Málitskoe

Mamashyóchkina

Mánka

Marína

Maríya

Márkel

Márko

Máshenka

Másha

Máshenka

Matryóna

Matvéev

Matvéevich

Matvéich

Matvéy

Mazútov

Medvedénko

Mérik

Merchútkina

Mikhaíl

Mikhaílo

Mikhaílovich

Mikhaílovna

Mikíshkin

Mirónov

Mísha

Míshenka

Molchánovka

Moskóvsky

Mozgovóy

Múehlbach

Muráshkin

Murométs

Múshkino

Nastásya

Natáliya

Natásha

Nazárka

Nazárovna

Nekrásov

Nemétskaya

Nikíta

Nikítych

Nikodímovich

Nikoláevich

Nikolásha

Nikoláy

Nikólka

Níl

Nílovich

Nína

Nóvo-Dévichy

Nóvo-Petróvskoe

Nyúkhin

Nyúnin

Odéssa

Olénin

Olénina

Ólenka

Ólga

Ólya

Onégin

Orlóvsky

Ósip

Ostróvsky

Ovsyánov

Panteléich

Pásha

Páshenka

Patrónnikov

Páva

Pável

Pávlovich

Pávlovna

Pávochka

Pelagéya

Pétrin

Petrúshka

Pétya

Pirogóv

Pisaryóv

Platónov

Platónovka

Plátoshka

Plésniki

Polikárpov

Polína

Potápych

Poltáva

Pólya

Popóva

Porfíry

Pravdolyubóv

Protopópov

Prózorov

Púshkin

Pyzhikov

Ragúlin

Raísa

Ranévskaya

Rasplyúev

Répina

Revunóv-Karaúlov

Rossítsky

Rozhdéstvennoe

Ryblovo

Sabínin

Sadóvsky

Samára

Samovár

Sánichka

Sarátov

Sárra

Sásha

Sáshenka

Sáshurka

Sashúrochka

Sávishna

Sávva

Schrífter

Semyón

Semyónovich

Semyónovna

Sénya

Serebryakóv

Sergéy

Sergéevich

Sergéevna

Seryózha

Seryózhenka

Seryózhka

Sevastópol

Shabélsky

Shamráev

Shcherbúk

Shekhtél

Sherventsóv

Shimánsky

Shipúchin

Shipúnov

Shúra

Shúrka

Shúrochka

Simeónov-Píshchik

Skvortsóv

Smirnóv

Solomónovich

Solyóny

Sónnenstein

Sófya

Sónechka

Sónya

Sórin

Soúsov

Spártakov

Spiridónovich

Sprút

Stanisláv

Stepán

Suvórin

Súzdaltsev

Svetlovídov

Svobódin

Talié

Tamára

Tamárin

Tarantúlov

Tarnóvsky

Tatyána

Telégin

Telibéev

Téstov

Tíkhon

Tolkachóv

Tolstóy

Treplyóv

Trífon

Trigórin

Trilétsky

Trófim

Trofímov

Tsytsykár

Túla

Turgénev

Túsenbach

Upryámov

Valentínovich

Válts

Ványa

Varsonófev

Varvára

Várya

Vasíl

Vasílych

Vasíly

Vasílyevich

Vasílyevna

Vengeróvich

Véra

Vershínin

Víkhrin

Vladímir

Vladímirovich

Vlásin

Vlásov

Voinítsev

Voinítseva

Voinítsevka

Voinítsky

Vólga

Vólgin

Volódya

Yaroshévich

Yaroslávl

Yásha

Yáshnevo

Yefímovna

Yéfim

Yefímushka

Yegór

Yegórka

Yegórov

Yegórovna

Yegórushka

Yeléna

Yeléts

Yelizavetgrád

Yepikhódov

Yermoláy

Yevdokím

Yevgény

Yevstignéev

Yevstignéy

Yúlechka

Yúlya

Yusnóvka

Zaimíshche

Záitsev

Zákhar

Zaréchnaya

Zárev

Zarévsky

Zásyp

Zheltúkhin

Zhigálov

Zhílkovo

Zína

Zinaída

Zínochka

Zipunóv

Zmeyúkina

Znóikin

Zyúzyushka

INTRODUCTION

Anton Chekhov’s plays occupy a unique place in the history of drama. They derived from no obvious forerunners and produced no successful imitators. Despite his obvious influence on any number of important playwrights, there is no school of Chekhovian playwriting. Yet somehow, within the space of a few years, Chekhov managed to bring together elements that created, to paraphrase Maksim Gorky, a new kind of drama, which heightened reality to the point at which it turned into a profoundly inspired symbol.

Chekhov himself approached the theater and playwriting with a deep distrust, a fear that the demands of the stage would coarsen or distort his carefully wrought perceptions. As a boy in Taganrog, he delighted in the melodramas and operettas performed at the local playhouse, but as a young journalist in Moscow in the 1880s he poured vials of scorn on what he saw to be the ingrained mediocrity of professional theater practitioners. According to his friend Ivan Bunin, he regarded most actors as “vulgarians, thoroughly steeped in vanity.”1 Still, his attraction to the theater persisted. The backstage world appeared in many of his stories, and, significantly, his first published collection was called Fairy Tales of Melpomene (1884), comic anecdotes dedicated to the Muse of Tragedy.

Chekhov’s early plays, written with an eye to stage production, clearly display his sense of the conflict between the pedestrian demands of the theater and the need to express his own concerns dramatically. His farces are extremely stageworthy, but differ from the run of most curtain-raisers only in their shrewd observation of human foibles. Chekhov’s discomfort with having to use traditional dramatic conventions is more apparent in the disjointed and contrived nature of Ivanov (1887; revised 1888) and The Wood Goblin (1889). They emerge from a period in his life when he was striving to perfect his skill as a short-story writer, to increase the subtlety of the techniques available to him, to depict states of unfulfilled desires, misconstrued ambitions, and futile endeavor. Transferring these concerns to writing for the stage, aware as he was of its fondness for platitudes and cheap effects, drove him to agonies of frustration.