While the influence of Chekhov in modern theater worldwide, and especially in America, has been immense, translations into English have tended to be too literary and have not communicated the full emotional power and precise attention to detail of Chekhov's Russian. Milton Ehre began translating Chekhov's plays to provide professional theaters with performance texts that capture the feel and rhythms of spoken, rather than written, language. Chekhov for the Stage is the first publication of his revised versions of The Three Sisters, Uncle Vanya, The Cherry Orchard, and The Sea Gull. Ehre's sensitive renderings of these classics make this volume the translation of choice for performers and directors, teachers, and the general reading public.

Chekhov started writing about theatre in newspaper articles and in his own letters even before he began writing plays. Collected here in translation, these writings reveal Chekhov's instinctive curiosity about the way theatre works-- and his concerns about how best to realize his own intentions as a playwright.--Publisher.

Many now consider Chekhov a playwright equal to Shakespeare. Senelick studies how his reputation evolved, and how the presentation of his plays varied and altered from their initial productions in Russia to recent postmodern deconstructions.

Eminent critic Richard Gilman examines each of Chekhov's full-length plays, showing how they relate to each other, to Chekhov's short stories, and to his life. Gilman places the plays in the context of Russian and European drama and the larger culture of the period, and the reasons behind the enduring power of these classic works.

Young Chekhov contains a trilogy of plays by the Russian writer Anton Chekhov, written as he emerged as the greatest playwright of the late nineteenth century. The three works, Platanov, Ivanov and The Seagull, in contemporary adaptations by David Hare, will be staged at the Chichester Festival Theatre in the summer of 2015.

Performing Chekhov is a unique guide to Chekhov's plays in performance. It will be indispensable to students, teachers and theatre practitioners interested not only in Chekhov but in the history of the modern stage.

With a focus on the canonical institutions of Shakespeare and Chekhov, John Tulloch brings together for the first time new concepts of “the theatrical event” with live audience analysis. Using mainstream theatre productions from across the globe that were highly successful according to both critics and audiences, this book of case studies—ethnographies of production and reception—offers a combined cultural and media studies approach to analyzing theatre history, production, and audience. Tulloch positions these concepts and methodologies within a broader current theatrical debate between postmodernity and risk modernity. He also describes the continuing history of Shakespeare and Chekhov as a series of stories “currently and locally told” in the context of a blurring of academic genres that frames the two writers. Drawn from research conducted over nearly a decade in Australia, Britain, and the U.S., Shakespeare and Chekhov in Production and Reception will be of interest to students and scholars of theatre studies, media studies, and audience research.