Customer Reviews

The Plays of Anton Chekhov

5 star:		(8)
4 star:		(1)
3 star:		(1)
2 star:		(3)
1 star:		(2)

 

 

Having taught Chekhov for a number of years, using translations by Constance Garnett, Elizaveta Fen, David Mamet, and others, it's a pleasure to discover Schmidt's recent translation of Chekhov's major plays. His translations, at times daring linguistically, bring a fresh vitality to Chekhov's plays. I am especially fond of his translations of Uncle Vanya and The Cherry Orchard. New generations of Chekhov readers will find Schmidt's work interesting, accessible, and energetic.

This translation, which incorporates the original vernacular seamlessly into a contemporary translation, is by FAR the finest translation of Chekhov's plays (especially *Uncle Vanya*) I have ever read, or am likely to. As a professor of dramatic literature, I will never again teach Chekhov without assigning my students this fine edition--may it long stay in print.

I haven't read Chekhov's plays in Russian so I can't say anything about the translation except that it is very readable.

Chekhov had his own unique style in that his plays were usually mere verbal interaction with most significant action taking place offstage. Even though most of his plays, especially his four act plays, take place at rich, country houses far removed from any sort of normal life, he seems to pick out timeless themes of humanness in several characters and weave them together into an almost plotless commentary. The fact that his plays have endured as long as they have are a testament to his genius and his skill at seeing timeless ideas.

Chekhov's long plays are always revered and remembered as classics but this collection gives the reader a chance to see what an unbelievable short play writer he was. They have their own special feel apart from his longer works and give short little insights to the comedy and often comedic tragedy of human nature and human absurdity.

The Cherry Orchard, the Seagull, and Uncle Vanya are classic four acts by Chekhov but don't overlook Ivanov. It was one of his earlier ones and one of my favorites. Chekhov does a good job of making several unique characters and having them react around the central situation and an older man and a younger woman give you an interesting view at an interesting love story.

For short plays I would recommend "The Bear", "The Proposal", and "A Reluctant Tragic Hero". Especially in the Proposal Chekhov's comedy is especially portrayed.

This collection, in general, an all-around good read. Well worth reading this collection of one of the best playwrights.

Schmidt's translation sounds smooth to a modern American, and thus eases the American actor's job. It fails, however, to bring the real Chekhov to the English language. Chekhov's writing has a rhythm, a compactness, and a vocabulary that is uniquely his, one that inimitably captures a very distinctive slice of Russian life as it existed one hundred years ago. It is possible to show this slice to an English speaking audience, but Schmidt had no interest in doing this. That is why this translation is a failure.

A secondary but equally unforgiveable fault is that he adds his own stage direction to the text. For instance, he adds the word "beat" to the text in places where Chekhov had nothing at all. The American concept of a stage "beat" had not even been invented yet!

Renowned Director and Chekhov afficionado David Cromer swears by this translation of Chekhov's greatest (and lesser-known as well) works. I agree, its truly the most accessible translation for the American mouth I've ever read/performed. Perfect for monologue auditions, or productions of your own. ACTORS, STUDENTS AND SCHOLARS ALIKE SHOULD ALL OWN THIS TRANSLATION!

Although the author does a very good job putting the text of the plays into the modern English vernacular, I feel as though the works have had their flavor removed. If you are a purist, like I am, stick to the "old" translation.

Schmidt's translation is very popular with modern actors because he has 'updated' the text. He has also reduced the poetic value. There is none. That's why American actors like it so much--- we have no poetry in us! Gimmickry substituted for lyricism. I teach about these plays (Graduate School, Conservatory and Professional level) and when actors bring in this text, it hurts my ears. "Fresh" it my be, but as Chekhov himself might have said, "Yes, well, very nice, but it's not my play!" Ann Dunnigan (Signet classics), Robert Corrigan (out of print), Carol Rocamora (Smith and Krauss), ALL, are far more beautiful.

of any I've ever read. This should be your first and last stop for a good, workable and layered translation of Chekhov's brilliant work.

Schmidt presents a 'smooth' translation of Chekhov including his insertion of '(Beat)'s. However it is not faithful to the TIME and CONTEXT of Chekhov's Russia. TIME: Chekhov's language often reflects the social customs of the period and manner with which to approach communication. It's not always meant to be economical or direct (although he is direct in his day). So an 'updated' translation which flows quickly will flatten these nuances. CONTEXT: One has to understand the development of Theater in Russia in his time. His plays are not meant for melodramatic performances (prior to his time) or 'Method' acting (our time). Hence, a translation written for performances today will be colored by the directorial style preferred today. It is important to take that into consideration. By these standards, then no translation is acceptable. However if you find one that will generously tell the reader the difficulties in translating, present the various versions, include historical resources, notes and essays, and have plenty of footnotes. Then you are likely to have a good idea. I recommend Bristow's translation from Norton.

PS - I'm reviewing this from the point of view of a director. For actors or literature students or everyday readers, it is obviously a different matter.

It neither surprises nor pleases me to learn that this is the current actor's standard for Chekhov translations in America. I bought this as a text for an acting class, and I kept it because Chekhov was a great writer and no translator can change that. However, the plays collected in this volume aren't treated as literature. If they were, we wouldn't get twelve of them; the one-act comic sketches were, as Schmidt well knows, only written to make money. They certainly weren't intended as filler for the longer, more important and famous plays, which can be found in virtually every other Chekhov collection. Yet Schmidt gives them the same attention, and I myself sometimes find it hard to tell the difference. There are one or two of the less famous plays that I admire, but there are also plays by Chekhov that this volume leaves out.
If I were looking for an English version of Chekhov now, it would probably be an older volume, or perhaps a genuinely modern adaptation that made no claims to be an accurate rendering of the original Russian. I'm not categorically opposed to watching a performance of any one of these translations (I derived a rare enjoyment from performing them myself), but the Americanizing of the dialogue has chafed actors and directors alike, and I hardly think it was worth the effort.
To judge by the cover of this book, one would think its contents profoundly ugly.