The Homecoming and The Cherry Orchard: Pinter\u27s Inversion of Chekhov\u27s Subtextual Method

The ever-present tension between literary criticism and performance analysis makes one wary about suggesting a cause and effect link between the work of a single dramatist and the development of a major acting method. And yet, it is impossible to separate the original concept of subtext, which emerged upon Stanislavsky\u27s stage, from Anton Chekhov\u27s revolutionary dramaturgy, which made startling demands upon that stage. Chekhov wanted specifically to narrow the gap between real life and stage life--to do away with the worn-out well made play formula that permitted actors to declaim and gesticulate broadly, shouting incredible passions and externalizing larger-than-life desires. Chekhov\u27s oblique dialogue had its most immediate impact upon the actor, who could no longer simply declaim if he or she hoped to convey the full content of his or her character\u27s thought and feeling

Review: The Newsletter of the Literary Managers and Dramaturgs of the Americas, volume 15, issue 2

Contents include: Shopping=Theatre: Re-Staging Retail in NYC, LMDA\u27s Prez On Our Upcoming Extravaganza in the Lone Star State, Confessions of an Early Career Dramaturg, Dramablog, Dramaturging Education, Educating Dramturgs, Henier Muller on 42nd Street, LMDA\u27s Dramaturg Driven Project Gets Under Way, LMDA Regional Updates Issue editors: D.J. Hopkins, Shelley Orr, Megan Monaghan, Madeleine Oldhamhttps://soundideas.pugetsound.edu/lmdareview/1031/thumbnail.jp