I am well. ... I press your hand cordially, wish you health and all the best.
Yours,
A. Chekhov
I won't read my play to you because I don't know how to; but I'll give it to you for reading, providing I can get it ready, of course.
To KONSTANTIN STANISLAVSKI
October ;o, i90ĵ, Yalta
Dear Konstantin Sergeyevich,
Thank you very much for the letter and for the telegram. Letters are always very precious to me because, one, I am here all alone, and two, I sent the play off three weeks ago and your letter came only yesterday; if it were not for my wife, I would have been entirely in the dark and would have imagined any old thing that might have crept into my head. When I worked on the part of Lopakhin, I thought it might be for you. If for some reason it doesn't appeal to you, take Gayev. Lopakhin, of course, is only a merchant, but he is a decent person in every sense, should conduct himself with complete decorum, like a cul- tivated man, without pettiness or trickery, and it did seem to me that you would be brilliant in this part, which is central for the play. (If you do decide to play Gayev, let Vishnevski play Lopakhin. He won't make an artistic Lopakhin but still he won't be a petty one. Lujski would be a cold-blooded foreigner in this part and Leonidov would play it like a little kulak. You mustn't lose sight of the fact that Varya, an earnest, devout young girl, is in love with Lopakhin; she wouldn't love a little kulak.)
I want so much to go to Moscow but I don't know how I can
To VLADIMIR NEMIROVICH-DANCHENKO [rgoj]
get away from here. It is turning cold and I hardly ever leave the house; I am not used to fresh air and am coughing. I do not fear Moscow, or the trip itself, but I am afraid of having to stay in Sevastopol from two to eight, and in the most tedious company.
'Vrite me what role you are taking for yourself. My wife wrote that Moskvin wants to play Epikhodov. 'Vhy not, it would be a very good idea, and the play would gain from it.
My deepest compliments and regards to Maria Petrovna, and may I wish her and you all the best. Keep well and gay.
You know, I haven't yet seen "The Lower Depths" or "Julius Caesar." I would so much like to see them.
Yours,
A. Chekhov
To VLADIMIR NEMIROVICH-DANCHENKO
November 2, igo;, Yalta
My dear Vladimir Ivanovich,
Two letters from you in one day, thanks a lot! I don't drink beer, the last time I drank any was in July; and I cannot eat honey, as it gives me a stomach ache. Now as to the play.
Anya can be played by any actress you'd like, even an utter unknown, if only she is young and looks like a young girl, and talks in a young, resonant voice. This rOle is not one of the important ones.
Var'a's part is more on the serious side, if only Maria Petrovna would take it. If she doesn't the part will turn out rather flat and coarse, and I would have to do it over and soften it. M. P. won't repeat herself because, firstly, she is a gifted actress, and secondly, because Varya does not resemble Sonya or Natasha; she is a figure in a black dress, a little nun-like crea- ture, somewhat simple-minded, plaintive and so forth and so on.
Gayev and Lopakhin—have Stanislavski try these parts
T0 VLADIMIR NEMIROVICH-DANCHENKO [190J]
and make his choice. If he takes Lopakhin and feels at home in the part, the play is bound to be a success. Certainly if Lopakhin is a pallid figure, played by a pallid actor, both the part and the play will fail.
Pishchik—the part for Gribunin. God have mercy on you if you assign the part to Vishnevski.
Charlotta—a big part. It would of course be impossible to give the part to Pomyalova; Muratova might be good, perhaps, but not funny. This is the part for Mme. Knipper.
Epikhodov—if Moskvin wants the part let him have it. He'll be a superb Epikhodov. . . .
Firs—the role for Artem.
Dunyasha—for Khalutina.
g. Yasha. If it is the Alexandrov you wrote about, the one that is assistant to your producer, let him have it. Moskvin would make a splendid Yasha. And I haven't anything against Leonidov for the part.
10. The passer-by—Gromov.
1 1. The stationmaster who reads "The Sinner" in Act III should have a bass voice.
Charlotta speaks with a good accent, not broken Russian, except that once in a while she gives a soft sound to a con- sonant at the end of a word rather than the hard sound that is proper, and she mixes masculine and feminine adjectives. Pishchik is an old Russian fellow broken down with gout, old age and satiety, plump, dressed in a long Russian coat (a la Simov) and boots without heels. Lopahkin wears a white vest and tan shoes, flails his arms when he is in motion, takes long strides, is lost in thought when he moves about and walks in a straight line. He doesn't cut his hair short and so he frequently tosses his head back; in reflection he strokes his beard back and forth, i.e., from his neck to his lips. I think Trofimov is clearly sketched. Varya wears a black dress and wide belt.
I have been intending to write "The Cherry Orchard" these past three years and for three years have been telling you to hire an actress who could play a part like Lubov Andreyevna. This long waiting game never pays.
I have got into the stupidest position: I am here alone and don't know why. But you are unjust in saying that despite your work it is "Stanislavski's theatre." You are the one that people speak about and write about while they do nothing but criticize Stanislavski for his performance of Brutus. If you leave the theatre, so will I. Gorki is younger than we and has his own life to lead. As to the Nizhni-Novgorod theatre, this is only an episode in his life; Gorki will try it, sniff at it and cast it aside. I may say in this connection that people's theatres and people's literature are plain foolishness, something to sweeten up the people. Gogol shouldn't be pulled down to the people, but the people raised to Gogol's level.
I would like so much to visit the Hermitage Restaurant, eat some sturgeon and drink a bottle of wine. Once I drank a bottle of champagne solo and didn't get drunk, then I had some cognac and didn't get drunk either.
I'll write you again and in the meantime send my humble greetings and thanks. Was it Lujski's father that died? I read about it in the paper today.
Why does Maria Petrovna insist on playing Anya? And why does Maria Fyodorovna think she is too aristocratic to play Varya? Isn't she playing in "The Lower Depths," after all? Well, the devil take them. I embrace you, keep well.
Yours,
A. Chekhov
T0 ALEXANDER VISHNEVSKI
November 190J, YaZ<a
Dear A1exander Leonidovich,
I got your letter and finally am getting around to thanking you. Since I am coming to Moscow soon, please set aside one seat for me for "Pillars of Society." I want to have a look at this amazing Norwegian play and will even pay for the privilege. Ibsen is my favorite author, you know.
You didn't write how you were getting along, and how your health is. Are you exhausted? I stay put, cough a lot and run to the toilet, if you will pardon the expression, five times a day minimum. One of nature's tricks.
When you dine with us in Moscow, please don't laugh. I press your hand and send you a thousand heartiest greetings. I begged so earnestly in my letters that you not be given a part in "The Cherry Orchard"—now I see my request has been honored.
Yours,
A. Chekhov
To KONSTANTIN STANISLAVSKI
November 23, igoj, Yalta
Dear Konstantin Sergeyevich,
Haymaking usually takes place from about the twentieth to the twenty-fifth of June, during which time it seems the corn crake and the frogs are over their summer music and are silent. Only the oriole can be heard. There is no cemetery—there had once been one, but two or three gravestones leaning in disorder are all that remain. A bridge—that is a very good idea. If you can get the train into the action without noise, without so much as a single sound—go ahead. I am not against using the same scenery in Acts III and IV as long as entrances and exits can be conveniently managed.