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Anton Pavlovich Chekhov ([Анто́н Па́влович Че́хов Antòn Pàvlovič Chéchov] Error: {{Lang-xx}}: text has italic markup (help), Russian pronunciation: [ɐnˈton ˈpavləvʲɪtɕ ˈtɕɛxəf], 29 January [O.S. 17 January] 1860 – 15 July [O.S. 2 July] 1904) was a Russian playwright and short-story writer. He also practised as a doctor, which, despite making little money from it (he treated the poor for free), Chekhov considered to be his principal profession; "Medicine is my lawful wife," he wrote, "and literature is my mistress."[1]
- Sandbox for the Anton Chekhov article
Anton Chekhov | |
---|---|
Occupation | Playwright • Short-story writer • Physician |
Nationality | Russian |
Period | Modernism |
Notable works | The Seagull Three Sisters The Cherry Orchard |
Spouse | Olga Knipper |
Relatives | Michael Chekhov (nephew) |
He is considered to be one of the greatest short-story writers in world literature.[2]
his best short stories are held in high esteem by writers and critics.[3] [4] Chekhov had at first written stories only for the money, but as his artistic ambition grew, he made formal innovations which have influenced the evolution of the modern short story.[5] His originality consists in an early use of the stream-of-consciousness technique, later adopted by James Joyce and other modernists, combined with a disavowal of the moral finality of traditional story structure.[6] He made no apologies for the difficulties this posed to readers, insisting that the role of an artist was to ask questions, not to answer them.[7]
His career as a dramatist produced four classics and Chekhov renounced the theatre after the disastrous reception of The Seagull in 1896; but the play was revived to acclaim in 1898 by Constantin Stanislavski's Moscow Art Theatre, which subsequently also produced Uncle Vanya and premiered Chekhov’s last two plays, Three Sisters and The Cherry Orchard. These four works present a special challenge to the acting ensemble[8] as well as to audiences, because in place of conventional action Chekhov offers a "theatre of mood" and a "submerged life in the text."[9]