The Cherry Orchard - Anton Chekhov
Work for Tuesday 26 August 2014
Watch the opening of the play while you read along for about 20 minutes. You can click the link to read an online version of the play script.
Then work through each act, breaking it into its constituent scenes. Remember a ‘scene’ is technically whenever a character enters or leaves the stage. Examine the tone and focus of each scene. This will reveal the structure of the play.
Use these notes on Act 1 as a model. The other acts are less complicated. You can take notes like these for the other 3 acts.
Then work through each act, breaking it into its constituent scenes. Remember a ‘scene’ is technically whenever a character enters or leaves the stage. Examine the tone and focus of each scene. This will reveal the structure of the play.
Use these notes on Act 1 as a model. The other acts are less complicated. You can take notes like these for the other 3 acts.
Then work through each act, breaking it into its constituent scenes. Remember a ‘scene’ is technically whenever a character enters or leaves the stage. Examine the tone and focus of each scene. This will reveal the structure of the play.
Use these notes on Act 1 as a model. The other acts are less complicated. You can take notes like these for the other 3 acts.
ACT 1
Scene by scene summary, with respect to tone and focus. Be prepared to expand on these.
1 Lopakhin and Dunyasha. Tone = light, comic. Focus = return of L.A.
2 Enter Yepikhodov. Tone = broad farce. Focus = marriage and interpersonal relationships. Yepikhodov is used to introduce the marriage theme. Note the contrast later in the play.
3 The arrival. First view of many characters. Tone = fluid. Many new characters confuse the audience. Tone develops into farce especially with the announcement, “My dog eats nuts.” Focus = the excitement at returning home.
4 Dunyasha and Anya. Tone = light. Focus = love and marriage: Dunyasha and Yepikhodov; Anya and Trofimov.
5 Varya and Anya. Tone = serious and intimate. They are social equals. Focus = exposition of the problem facing the family; characterisation. Two major pieces of long term suspense introduced:
(a) will the cherry orchard be sold?
(b) stalemate between Lopakhin and Varya.
Note that they are introduced together. Is there a subliminal link?
6 Yasha and Dunyasha. Tone = comedy. Yasha must be odious and greedy as well as lazy. Focus = lust.
7 Anya and Varya. Tone = quite serious. Focus = introduction of more suspense, this time shorter term: what effect will Trofimov have? Important characterisation of Lyubov Andreevna.
8 Firs and Dunyasha. Tone = comedy: old v new.
9 Group scene. Tone = excitement, tense. Focus = Lopakhin’s plan for saving the orchard.
10 Enter Varya and Yasha. No settled tone. Shifting mood due to Lyubov Andreevna’s telegram from Paris. Focus = exposition, characterisation, especially of Gaev.
11 Enter Charlotta. Tone = farce. An interlude. Focus = Lopakhin. He is made to look foolish. He wants to be accepted but is always rebuffed.
12 Exit Lopakhin. Slow movement with expectation of closure. Tone = lighter, happier because they forget their problems for a while. Focus = the importance of the cherry orchard. It is revealed and described. We see why Lyubov Andreevna doesn’t want to lose the orchard - it’s beautiful. We understand her stubbornness.
13 Enter Trofimov. Tone = calm but sad. Trofimov reminds Lyubov Andreevna of her drowned son. Focus = real life. After forgetting their problems in the previous scene, they are forces to face reality, personified by Trofimov’s entrance. He ‘spoils’ things. Problem of money highlighted by Semyonov-Pishchik borrowing from Lyubov Andreevna. This also augments her character.
14 Gaev, Yasha and Varya. Undramatic interlude. Tone = resignation. They all know the problem and are concerned to find their own solutions. Focus = characterisation.
15 Enter Anya. Tone = fairly serious. Focus = Anya and how she fits into the family. Note the dramatic irony here. In the previous scene, Gaev was prepared to marry off Anya to someone rich in order to save the orchard. Here, she is his “angel ... everything to me ...” Note how Gaev and Varya now speak in a different way - child like because Anya is the baby of the family.
16 Enter Firs. Comic relief.
17 Anya and Varya. Similar to first scene. They’re talking past each other.
Tone = neutral. Focus = characterisation of Varya.
18 Trofimov. Final twist in a very complex act. Tone = suspense; fairly comic - this is typical of Trofimov’s bombast. Focus = love interest.
Use these notes on Act 1 as a model. The other acts are less complicated. You can take notes like these for the other 3 acts.
ACT 1
Scene by scene summary, with respect to tone and focus. Be prepared to expand on these.
1 Lopakhin and Dunyasha. Tone = light, comic. Focus = return of L.A.
2 Enter Yepikhodov. Tone = broad farce. Focus = marriage and interpersonal relationships. Yepikhodov is used to introduce the marriage theme. Note the contrast later in the play.
3 The arrival. First view of many characters. Tone = fluid. Many new characters confuse the audience. Tone develops into farce especially with the announcement, “My dog eats nuts.” Focus = the excitement at returning home.
4 Dunyasha and Anya. Tone = light. Focus = love and marriage: Dunyasha and Yepikhodov; Anya and Trofimov.
5 Varya and Anya. Tone = serious and intimate. They are social equals. Focus = exposition of the problem facing the family; characterisation. Two major pieces of long term suspense introduced:
(a) will the cherry orchard be sold?
(b) stalemate between Lopakhin and Varya.
Note that they are introduced together. Is there a subliminal link?
6 Yasha and Dunyasha. Tone = comedy. Yasha must be odious and greedy as well as lazy. Focus = lust.
7 Anya and Varya. Tone = quite serious. Focus = introduction of more suspense, this time shorter term: what effect will Trofimov have? Important characterisation of Lyubov Andreevna.
8 Firs and Dunyasha. Tone = comedy: old v new.
9 Group scene. Tone = excitement, tense. Focus = Lopakhin’s plan for saving the orchard.
10 Enter Varya and Yasha. No settled tone. Shifting mood due to Lyubov Andreevna’s telegram from Paris. Focus = exposition, characterisation, especially of Gaev.
11 Enter Charlotta. Tone = farce. An interlude. Focus = Lopakhin. He is made to look foolish. He wants to be accepted but is always rebuffed.
12 Exit Lopakhin. Slow movement with expectation of closure. Tone = lighter, happier because they forget their problems for a while. Focus = the importance of the cherry orchard. It is revealed and described. We see why Lyubov Andreevna doesn’t want to lose the orchard - it’s beautiful. We understand her stubbornness.
13 Enter Trofimov. Tone = calm but sad. Trofimov reminds Lyubov Andreevna of her drowned son. Focus = real life. After forgetting their problems in the previous scene, they are forces to face reality, personified by Trofimov’s entrance. He ‘spoils’ things. Problem of money highlighted by Semyonov-Pishchik borrowing from Lyubov Andreevna. This also augments her character.
14 Gaev, Yasha and Varya. Undramatic interlude. Tone = resignation. They all know the problem and are concerned to find their own solutions. Focus = characterisation.
15 Enter Anya. Tone = fairly serious. Focus = Anya and how she fits into the family. Note the dramatic irony here. In the previous scene, Gaev was prepared to marry off Anya to someone rich in order to save the orchard. Here, she is his “angel ... everything to me ...” Note how Gaev and Varya now speak in a different way - child like because Anya is the baby of the family.
16 Enter Firs. Comic relief.
17 Anya and Varya. Similar to first scene. They’re talking past each other.
Tone = neutral. Focus = characterisation of Varya.
18 Trofimov. Final twist in a very complex act. Tone = suspense; fairly comic - this is typical of Trofimov’s bombast. Focus = love interest.