ma presentation

1. 92170000918 Canan Kaplan
The Cherry Orchard by Anton Chekhov

2. • Modern Drama
• Historical Background
• Anton Pavlovich Chekhov’s
Life
• Chekhov and the ‘New
Drama’
• Moscow Art Theatre
• The Cherry Orchard
• Characters
• Themes
• Symbols

3. Tradition was found to be
lacking and the task of
making sense of ourselves
and the world could no
longer depend on prior
authority, religion, or
antiquity
A rejection of Classical
formalism (17th century) and
Enlightenment rationalism
(18th century)
The 19th century Industrial
Revolution
The French Revolution (1789)
A turn from deities and moral
certainty and towards self-
conscious individualism and
ambiguity in judgment,
values, and interpersonal
relations.

4. “Our age is a birth-time, and a period of
transition. The spirit of men has broken with
the old order of things” (Krasner, 20).

5. “The patriarchal relationship between
God and the individual soul has been
replaced by the adversarial relationship
between a person and his or her own
psychology, the will to comprehend the
self, even as the patriarchal relationship
between ruler and subject has been
replaced by the adversarial relationship
between the individual and society, in
the form of society’s drive to marginalize
all those it cannot or will not
homogenize” (Krasner, 28).

6. Subject
matter and
its
treatment
the low comic
and grotesque
the high tragic
and sublime
the mid
domestic
With modernism, these
hierarchies dissolved

7. “What the nineteenth century
accomplished – and the
twentieth has carried the
process still further – was to
change the basis of correlation:
it became possible to take
subjects seriously that had
hitherto belonged to the low or
middle category, and to treat
them tragically ” (Krasner, 45).

8. Influenced by history
– concerns with the
past and how it folds
into the present.
Avant-gardism of the
late 19th and early
to mid 20th century
Romantic idealism of the
early to mid 19th
century
Realism of the mid
19th to the early
20th century

9. • Artists and social critics
questioned romanticism’s
emphasis on interiority and
abstract mental concepts.
• The realists observed the massive
effects of revolution,
industrialization, and a rootless
public alienated from social
institutions
• An artistic expression of
objectivity.

10. Modern Realism
Explicates the specific conditions of
technological social relations and
the manner in which they
influenced the individual’s freedom.
Rejected all subject matter that
could not be witnessed as physically
existing, depicting rawness and
steely-eyed observations.
“Une tranche de vie – “a slice of life.”

11. • Their complexity – the
density, compelling
allusiveness, and passion
exhibited in their plays.
• Their modernism stems from
the reliance on realism as a
grounding for character and
setting; and the use of
metaphors.
• An awareness of modernism’s
shock – the psychic
transformation from old
world values to a new age of
bourgeois consumerism and
egalitarian social relations.

12. Historical Background
• His Russia was a vast empire with extremes of wealth and poverty,
diverse cultures and a predominantly rural economy.
• Alexander II (1855–81), Alexander III (1881–94) and his son Nicholas
II (1894–1917).
• By the nineteenth century, there was a rigid, inefficient, and in
some ways corrupt, centralized bureaucracy.

14. Historical Background
• Modernizing Russia in Western
Europe's image.
• In the 1830's, the railroads arrived.
• European styles in fashion and art
were imported, the Western canon
was widely read among the nobility.
• Emancipation Declaration of 1861.
• The situation displayed in The
Cherry Orchard, of a wealthy
landowning family forced to sell
their estate in order to pay their
debts, was thus a familiar one in the
Russian society of Chekhov's day.

15. Intelligentsia
• Raznochintsy or ‘persons of other
ranks’, who came from social
classes other than the nobility
began to emerge.
• Defined itself by agitating for
social reform. Its members,
intelligenty, were critical thinkers
who regretted the primitive
political state of their country under
tsarism’ .
• «Envisaged a society on western
models, as new ideological
currents, bourgeois democracy and
humanitarian ideals spread from
western Europe» (Whyman, 10).

16. • Ivan Turgenev’s novels and
plays
• The philosopher Arthur
Schopenhauer (1788–1860)
• Schopenhauer’s particular
nihilism provided a new way
of thinking about life in a
post-Darwinistic world.
• Pisarev, chief proponent of
Russian nihilism.

17. «Nikolai Bakunin’s slogan – ‘the negation of what exists… for the
benefit of the future which does not yet exist’ «(Krasner,98)

18. • Many of the gentry lived on
declining estates in the provinces,
owning less and less land.
• With the symbolism of the trains in
The Cherry Orchard, the character of
the self-made millionaire Lopakhin
and the revolutionary politics of
Trofimov, Chekhov presciently
depicts a society of political and
cultural change.
• Surveying the dominant ideas and
ideals of the Russian intelligentsia –
utilitarianism, utopianism, nihilism
and, also, scepticism and pessimism
resulting from disillusionment when
ideals fail to become reality.

19. Anton Pavlovich
Chekhov (1860- 1904)
• A Russian playwright and
short story writer.
• "Medicine is my lawful
wife", he once said, "and
literature is my mistress.«
• In-house playwright for the
Moscow Arts Theatre.
• The Seagull (1896), Uncle
Vanya, Three Sisters , The
Cherry Orchard.

20. Chekhov and Modern Drama
• Stage could not only
reproduce an accurate
image of "real life," but
should also become like an
instrument of scientific
inquiry into human
behaviour.
• Against the artificiality of
the conventional dramatic
structure.
• Emile Zola, Naturalism.
• Elements of symbolism

21. Naturalism and Symbolism
“Chekhov’s work in reflecting the
haphazard casualness and aimlessness of
outward existence already represents that
step beyond a mere photographic realism.
In his plays, while they give meticulously
accurate pictures of reality, emphasis is on
feelings underneath the surface, the
subtlest of atmospheric nuances; and real
objects like cherry orchard became the
symbols for far more complex social and
psychological aspects of life (Krasner, 357)”.

22. Naturalism and Symbolism
“If we hold The Cherry Orchard in
opposition to our reality we begin to
understand ourselves in a new light. We see
our flaws reflected in the play, we see our
past and our errors. In a perfect world if we
could change aspects of our lives, we would
change them for the better. With any play
you can do this, but with Chekov the
message you hear is what you see is what you
get, a mirror or a slice of reality“ (Tyrell, 11).

23. Naturalism and Symbolism
Really, in life people are not every minute
shooting each other, hanging themselves,
and making declarations of love. And they
are not saying clever things every minute.
For the most part, they eat, drink, hang
about, and talk nonsense; and this must be
seen on the stage. A play must be written
in which people can come, do, dine, talk
about the weather, and play cards, not
because that’s the way the author wants it,
but because that’s the way it happens in
real life” (Heatley, 1).

24. Chekhov and Modern Drama
• Open form
• Chekhov's renunciation of high-flown
poetic language and rhetorical
explicitness
• Reducing the importance of overt
action and "plot".
• Abandonment of the central figure—
the hero—of the drama
• A new focus of attention: the situation
itself.
• One of the pioneers in moving the
theatre away from putting its main
emphasis on action in the simple,
literal sense.
• Belgian playwright Maurice
Maeterlinck, who developed his plays
using symbols to explore the meaning
of life and death.

25. Aboulia
• Aboulia – the loss or impairment of the ability to act
or to make decisions.
• “On stage everything should be just as complicated
and just as simple as in life. People eat their meals,
and in the meantime their fortune is made or their
life ruined” (Krasner, 110).

26. Boredom
• By the late nineteenth century the malady of boredom is a
reoccurring phenomenon in literature and drama.
• It is connected to the Industrial Revolution, the rise of
individualism, excess leisure time, and the notion of
happiness derived from personal responsibility
• Chekhov anticipates Beckett’s landscape of aimless
wanderers, characters who are simultaneously ornate and
profane, subtle and ridiculous, and portrays a theatre of the
absurd through the paradigm of realism.
• «He captured the buzzwords of the modern existential
condition – angst, ennui, boredom, helplessness, and despair
– couching these feelings and attributes into sublime
comedy» (Krasner, 116).

27. Moscow Art Theatre (1898)
Founded by Konstantin
Stanislavski and Vladimir
Nemirovich-Danchenko.
A venue for naturalistic theatre,
contrast to the melodramas that
were Russia's dominant form of
theatre at the time.
Included works by Aleksey
Tolstoy, Henrik Ibsen, William
Shakespeare.

28. In 1920, Stalinist regime
began to suppress
artistic expression
The theatre adopted
the seagull as its
emblem.
In 1987, it split into two
troupes: the Chekhov
Moscow Art Theatre
and the Gorky Moscow
Art Theatre.
Moscow Art Theatre

30. Premiered at the
Moscow Art
Theatre in 1904.
«It portrays
Russian society
in a state of
flux and marks
the end of
Feudalism and
the rise of
capitalism. It
mirrors the
sense of loss of
Lyubov
Ranevskaya
and her
aristocratic
family
(Abidi,1)».
The clash between the
older generations
which is and the
younger characters
have grown up since
serfdom was
abolished.
A perspective on the
changing social,
economic and
political order in
Russia at the end of
the 19th century.

31. “The Cherry Orchard” is concerned with
such issues as the diminution of
aristocracy, the rise of the middle-class,
the emancipation of serfs, the devolution
of agricultural economics, and farming
problems. The process of the garden’s
dilapidation closely parallels the decay of
the outmoded values of the Russian gentry
(Daftari 40) ”.

32. The Cherry Orchard
• A comedy, a vaudeville (a a
theatrical genre of variety
entertainment).
• A Comedy in Four Acts.
• The debate over whether the
play is in fact a comedy or a
drama .
• New formal innovations in
terms of the use of the empty
stage, lost dialogue and its
mixing of comic and tragic
elements. But many saw the
play as undeniably tragic,

33. Characters
Madame Ranevsky
Anya
Gaev
Lopahin
Trofimov
Pishtchik
Epihodov
Dunyasha
Firs
Yasha
A Wayfarer
The Station Master
A Post-Office Clerk

34. Characters
Madame Ranevsky
• An aristocratic woman incapable of
adapting to the changing social
climate in Russia.
• A kind and generous woman who is
irresponsible when it comes to money
and adult life.
• Fled to Paris from Russia five years
before to try to forget the deaths of
her little boy and her husband.
• Rather than living in the present, Mrs.
Ranevsky pictures the orchard as it
was in her childhood.

35. Lopahin (Yermolay Alexeyevitch)
"He is a representative of a new
generation, he is an enthusiastic, busy
person and fulled with eagerness to
work. Lopakhin is the first main
character from the merchant class in
Chekhov’s plays (Bonyadi 11) " .
Characters

36. • A wealthy businessman whose grandfather was once a serf on the
Ranevsky’s estate.
• Well dressed and respected, yet he is not literary or cultured; both his
preposterous misquotings of Hamlet and his poor penmanship embarrass
him.
• A symbolic character in that he epitomizes the success possible for the
newly freed serfs.

37. • An irresponsible, unkempt man
who prefers to play or pretend to
play billiards than to find a
solution to his family’s problems.
• He constantly pops sweets into his
mouth, insults people (such as
Lopakhin) with whom he
disagrees, and has to be reminded
to put on his jacket by Firs.
• Like his sister, he imagines the
cherry orchard as it was in his
childhood, unable to accept that it
will soon be sold.
Characters
Gaev (Leonid
Andreyevitch)

38. Varya
• Ranevksy's adopted
daughter.
• In love with Lopakhin, but
she doubts that he will ever
propose to her.
• She wears only black and is
very dedicated to her work
and to religion.
• Hard-working and
responsible and has a
similar work ethic to
Lopakhin.
Characters

39. Anya
• Ranevksy's biological
daughter.
• Dresses all in white to
signify her purity and
innocence.
• Greatly enjoys the
company of Trofimov and
his lofty idealism.
• The opposite of her sister
Varya, and is a youthful,
sweet, energetic, young
woman looking forward
to the future.
Characters

40. Trofimov(Pyotr Sergeyevitch)
• Trofimov as the
"eternal student," for
he has been in
university most of his
adult life.
• Emphasizes the value
of work as the
salvation of Russia.
Characters

41. Boris Simeonov-Pischik
• A nobleman, and fellow
landowner, who is, like
Ranevsky, in financial
difficulties.
• He is always certain he
will find the money.
• Eventually allows the
English to mine his estate
in order to pay off his
debts.
Characters

42. Firs
• Ranevsky's eighty-seven-year-old
manservant.
• Always talking about how things
were in the past on the estate and
constantly mumbling.
• Frequently talks about how life
was before the serfs were freed.
• He is the only surviving link to the
estate's glorious past, and he comes
to symbolize that past.
Characters

43. Yasha
• Firs’s grandson.
• Referred to as a scoundrel
by Varya, he plays with
Dunyasha’s emotions, and
schemes to go back to Paris
with Mrs. Ranevsky.
• He is a self-centered man
who cares nothing for
anyone but himself.
• always complaining about
how uncivilized Russia is
when compared to France,
• A strong taste for acrid-
smelling cigars.
Characters

44. Dunyasha
• The maid in the Ranevsky household who dreams of
being an aristocratic lady.
• She functions mainly as a foil to Yasha, her innocent
naive love for him emphasizing and making clear his
cynicism and selfishness.
Characters

45. Epihodov (Semyon Pantaleyevitch)
• A financial clerk whose
ineffectual management leads
to the auction of the estate.
• Provides comic relief, with his
self-conscious pose as the
hopeless lover and romantic,
often contemplating suicide.
• Nicknamed “Twenty- Two
Misfortunes”.
• Constantly plagued by
problems (including squeaking
boots) and crises.
• In love with the maid
Dunyasha.
Characters

46. “Though we don’t see heroes showed in Chekhov’s stories and plays in
traditional form and many of characters suffer from mental instability but
Chekhov never divides his characters into “bad” or “good” groups. His
characters are composition of positive and negative features running cause-
effect course (Bonyadi 255)” .

47. THEMES

48. Society and Class
“LOPAKHIN. My father was a peasant,
it's true, but here I am in a white
waistcoat and yellow shoes ... a pearl
out of an oyster. I'm rich now, with lots
of money, but just think about it and
examine me, and you'll find I'm still a
peasant down to the marrow of my
bone” (Act 1 – 306).

49. Society and Class
VARYA: [To YASHA] Your mother's come from the
village; she's been sitting in the servants' room since
yesterday, and wants to see you. ...
YASHA: Bless the woman!
VARYA: Shameless man. (Act 1, 320)-

50. Society and Class
VARYA: Why is Epikhodov
doing here? Who gave him
leave to play said play
billiards? I can’t make these
people out. (Act 3- 341) ---

51. • Clash between the values of modernity and the values of old Russia.
• Madame Ranevskaya’s family and representative of the ‘Old
Russia’, whilst those who are members of the ‘New Russian’
bourgeoisie are more concerned with the future.
• The conflict between Gayev and Ranevsky on the one hand and
Lopakhin and Trofimov on the other can be seen as emblematic of
the disputes between the old feudal order and Westernization.
Society and Class

52. “One must give up glorification of self. One should work, and
nothing else.” 331 . . .”Humanity progresses, perfecting its powers.
Everything that is beyond its ken now will one day become familiar
and comprehensible; only we must work, we must with all our
powers aid the seeker after truth. Here among us in Russia the
workers are few in number as yet. The vast majority of the
intellectual people I know, seek nothing, do nothing, are not fit as yet
for work of any kind. 331 (Act II ). "

53. Memory and The Past

54. LUBOV: [Looks out into the garden] Oh, my childhood, days of my
innocence! In this nursery I used to sleep; I used to look out from here
into the orchard. Happiness used to wake with me every morning, and
then it was just as it is now; nothing has changed. [Laughs from joy]
It's all, all white! Oh, my orchard! After the dark autumns and the cold
winters, you're young again, full of happiness, the angels of heaven
haven't left you. . . . If only I could take my heavy burden off my
breast and shoulders, if I could forget my past! (Act1- 318)

55. LUBOV :Look, there's my dead mother going in the orchard ...dressed
in white! [Laughs from joy] That's she. (Act 1-318)
LUBOV. To look at the walls and the windows for the last time. ...My
dead mother used to like to walk about this room. (Act 4- p.360)
LUBOV. My dear nursery, dear delightful room. ... I used to sleep here
when I was little [Cries.] And here I am, like a little child. (Act 1, p
308)

56. TROFIMOV. For it's so clear that
in order to begin to live in the
present we must first redeem the
past, and that can only be done by
suffering, by strenuous,
uninterrupted labour. Understand
that, Anya. (Act 2, 335)

57. • GAEV. Once upon a
time you and I used
both to sleep in this
room, and now I'm fifty-
one; it does seem
strange. (Act 1-p.312)
• «In the old days, forty or fifty years
back, they dried the cherries, soaked
them and pickled them, and made
jam of them…and then we'd send the
dried cherries off in carts to Moscow
and Kharkov. And money! And the
dried cherries were soft, juicy, sweet,
and nicely scented. ... They knew the
way» (Act1- p.315).

58. Independence, Liberation, and Freedom

59. LOPAHIN: “ . . . How their Yermolay, ignorant, beaten Yermolay, who
used to run about barefoot in winter, how that very Yermolay has
bought the finest estate in the World! I have bought the estate where
my father and grandfather were slaves, where they weren’t even
admitted into the kitchen. . . . We will build houses on it (the cheery
orchard) and our grandsons and great-grandsons will see a new life
springing up there.” . . . “ Here comes the new master, the owner of the
cherry orchard” (Act3- p.349)

60. • LOPAHIN: “Those were fine old times. There was flogging anyway” (ACT2)
FIRS[not hearing]: “To be sure! The peasants knew their place, and the
masters knew theirs; but now they’re all at sixes and seves, there’s no making it
out” (ACT 2- p.330)
• YASHA: “What is it old man?”
FIRS: “I don’t feel well. In old days we used to generals, barons and admirals
dancing at our balls, and now we send fort he post-office clerk and the station
master and even they are not overanxious to come”. (ACT 3, 344).

61. LOPAHIN: “ . . . I’m offering you a loan because I can
afford to. Why turn up your nose? I am a peasant – I
speak bluntly.” (ACT 4, 352).
TROFIMOV: “Your father was a peasant, mine was a
chemist – and that proves absolutely nothing whatever.
[Lopahin takes out his pocket-book.] Stop that- stop
that. If you were to offer me two hundred thousand I
wouldn’t take it. I am an independent man, and
everything that all of you, rich and poor alike, prize so
highly and hold so dear, hasn’t the slightest power over
me. . . . I can get on without you. I can pass by you. I
am strong and proud”. (ACT 4 353).

62. LYUBOV: “That’s a telegram from Paris. I get one every day. . . . He is ill, he is
alone and unhappy, and who’ll look after him, who’ll keep him from doing the
wrong thing, . . . I love him, that’s clear. I love him! I love him! He’s a
millstone about my neck, I’m going to the bottom with him, but I love that
stone and can’t live without it.
TROFIMOV: “For God’s sake forgive my frankness: why, he robbed you!” (ACT
4 342).

63. Infantalism

64. • National and cultural nostalgia for the golden age and childhood, a
longing for protection ensured by patriarchal relations and the comfort
of the extended family result in arrested national development,
economic and otherwise.
• “Childish individual is one who not only feels nostalgia for paradise lost
but who actually never fully realizes the transition from innocence to
knowledge, from the bliss of carelessness to the burden of
responsibility, from childish impotence to adult sexuality" (Evdokimova,
626).

65. • "Why have you grown so ugly? Why
do you look so old? (Act 1- p.319)

66. Nature
• As a source of both illusion
and memory in this play.
• «Pastoral in contrast to
Lopakhin's vision of a new
world that will be brought
about through work, the old
world of the superannuated
nobility at first seems to
resemble the world of pastoral,
emphasizing an apparent
simplification of life and
reflecting a pre-Darwinian
perception of the world as
"changeless, harmonious, and
aesthetic in appearance" (Like
the cherry orchard) (Baehr,
108-9).

67. • GAEV: “ O nature, divine nature, thou art
bright with eternal luster, beautiful and
indifferent! Thou, whom we call mother,
thou dost unite within thee life and death!
Thou dost give life and dost destroy!” (Act
2 – p.332)

68. • “In a ‘disguised soliloquy’, which superficially appears to be a trivial piece of
rhetoric, Gayev recognises the truth that Nature is ‘cold’ or, as Frayn translates
it, ‘indifferent’.” Gayev’s ‘vision’, though absurdly expressed, is not a stupid
one, and it is too painful for the other characters to face. Consequently they
silence him. It is in that silence that we hear the sound of the breaking string”
(Borny, 25).
• «The noise of the breaking string is associated in Chekhov's work with the
death of nature, industrialization, the crippling of human beings« (Baehr 117).

69. Symbols

70. Cherry Orchard
• Loss and Renewal
• Memory
• Redness of the
former soviet flag
• Eden Myth

71. Loss and Renewal
• “It is a symbol of loss and of renewal; it is a synecdoche, a great
orchard standing in for the far vaster orchard that is Russia; it is
a metonymy representing with each mention the family's
identity and wealth; and its fate is a metaphor for the
exploitation and potential of Russians and of Russia. It is
physically almost not there at all, yet haunts the stage in
characters' illusions and fears; everyone talks about saving it, yet
it is clearly doomed by the acts of its owners; and the family
homecoming to its beloved orchard is eventually redefined as a
family dispersal made possible by the orchard's destruction
(Leone, 284)”

72. Memory
• “What "memory" means for each character and what it
represents varies. Each character sees-sometimes literally—a
different aspect of the past, either personal or historical, in the
orchard. Ranevksy, for example, perceives her dead mother
walking through the orchard in Act One; for her, the orchard is
a personal relic of her idyllic childhood. Trofimov, on the other
hand, near the end of Act Two sees in the orchard the faces of
the serfs who lived and died in slavery on Ranevsky's estate; for
him, the orchard represents the memory of their suffering . For
Lopakhin, the orchard is intimately tied to his personal
memories of a brutal childhood, as well as presenting an
obstacle to the prosperity of both himself and Ranevsky” (Abidi,
4).

73. Redness of The Former Soviet Flag
• “The cherry orchard can also be
seen as a symbol and even a
character within the play. The red
of the cherry orchard may be the
redness of the former soviet flag;
this could be the blood of the
people of the land, working for the
land” (Tyrell, 247).
• “Chekov may be trying to allude to
the Marxist thought that is
brewing from the Marxian ideas of
Trofimov, as the eternal student,
analysing life. Chekov here puts
life under the microscope to
analyse the fundamental ideals of
Communism” (Tyrell, 247).

74. Eden Myth
“One axis of Chekhov's play stresses -
at least on the surface - the idea of a
Russian "paradise lost," depicting the
"Fall" of the old nobility from their
Edenic existence in the Garden of
Cherries" (Baehr, 68).
“ Like garden of Eden, Like Adam and
Eve, the old nobility are expelled from
their beautiful garden because of their
"sins." Their own, superficial
perception of these sins is mentioned
several times"
(Baehr, 68).

75. Nursery Room
• “Even though there are no
more children on the estate,
the room is still viewed as a
"children's room which alerts
the reader and the actors to
the characters' refusal to
separate themselves from
their puerile past”. The
room's closed windows not
only emphasize the sense of
enclosure, but suggest that
the nursery is dysfunctional
and remains merely a
misplaced symbol of a lost
childhood” (Evdokimova
630).

76. Snapping String
• "It is the metamorphosis of the sound of the
shepherd's pipe at the end of Act I into the
mysterious sound of a snapping string in Act
II, and the ominous recurrence of this same
sound combined with the sound of strokes of
the ax against the cherry trees at the end of Act
IV, that underscores the progression from the
idyll to the reality of the modern world, from
the pastoral of childhood to the drama of
maturity" (Evdokimova 640).

77. The Railroad
• "The train has come, thank
God. What time is it?"(Act 1, )
• " Towards the end of Act IV
much of the conversation
revolves around the imminent
departure of the train, which
will take most of the
characters away from their
lost paradisal garden and
reminds the theme of time.
Moreover, The railroad
provides a "connection" with
Paris. Paris is connected with
modernity and progress, for
example, in the fact that Anya
even goes for a ride in a
balloon there " (Baehr, 612).

78. Telegraph
• "Telegraph is reflected not only in the emphasis on the
railroad but also on the telegraph, which is mentioned
some six times. Like the railroad, the telegraph
represents a link between Russia and the West and
between the orchard and the outside world"(Barricelli,
105).

79. Bookcase
• "A symbol for the flowering of
nineteenth-century gentry
culture, whose fruits and
usefulness are now in the past.
Chekhov's juxtaposition of
Gaev's bookcase speech with
Lopakhin's vision of the future
reveals not only the obvious
opposition between the old
and the new generations, but
also a similarity between them:
both generations are dreamers,
envisioning an ideal future that
will be brought about by
"work" (Baehr, 136)

80. Thanks for listening!

81. Works Cited
Abidi, Ahmad. «Mulitiplicity of meanings in Chekhov‘s The Cherry Orchard». Lapis
Lazuli -An International Literary Journal, vol. 3, no. 1, 2013. pp. 1-11. Online.
Baehr, Stephen L. “The Machine in Chekhov's Garden: Progress and Pastoral in the
Cherry Orchard.” The Slavic and East European Journal, vol. 43, no. 1, 1999,
pp. 99–121. Spring, www.jstor.org/stable/309908.
Barricelli, Jean- Pierre. ed. Chekhov's Great Plays: A Critical Anthology. New York: New
York University Press, 1981.
Bonyadi, Ali Reza. »Previous, Present and Future Characters in “Cherry Orchard” play».
Journal of American Science, 2012:8(3). Online.
Borny, Geoffrey. «Chapter Title: The Cherry Orchard: Complete Synthesis of Vision and
Form». Interpreting Chekhov. ANU Press. (2006).
http://www.jstor.org/stable/j.ctt2jbjpn.12. Online.
Evdokimova, Svetlana. «What's so Funny about Losing One's Estate, or Infantilism in
"The Cherry Orchard«». The Slavic and East European Journal, Vol. 44,
No. 4 (Winter, 2000), pp. 623-648.
http://www.jstor.org/stable/3086287. Online.

82. Works Cited
Daftari, Ghazal. The Relationship between Russian History and The Cherry Orchard».
Applied mathematics in Engineering, Management and Technology 2 (5)
2014:40-42. Online.
Heatley, Stephan. «Some Personal Thoughts on Chekhov». Companion Guide to The
Cherry Orchard. Theatre atUBC,November2004,pp.1-14.
http://archive.theatre.ubc.ca/images/studyguide_cherry_orchard.pdf
Krasner, David. A History of Modern Drama: Volume 1. UK: Blackwell Publishing, 2012.
Online.
Leone, Ann (2000) "The Missing Set: How Landscape Acts in The Cherry Orchard ,"
Studies in 20th Century Literature: Vol. 24: Iss. 2, Article 7.
https://doi.org/10.4148/2334-4415.1486
Tyrell, David. «The Relevance of Anton Chekhov’s The Cherry Orchard in the 21st
Century: an Analysis using Socratic Dialogue» p. 1-33.
academia.edu. Online.
Whyman, Rose. Routledge Modern and Contemporary Dramatists: Anton Chekhov.
USA, Taylor & Francis Group. 2011. Online.

83. Works Consultant
• Krasner, David. A History of Modern Drama:
Volume 1. UK: Blackwell Publishing, 2012.
Online.
• Loehlin, James. The Cambridge Introduction to
Chekhov. New York:Cambridge University
Press. 2010. Online.