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Uncle Vanya (Paperback)

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Uncle Vanya Chekhov, Anton Pavlovich/ Mamet, David/ Chernomordik, Vlada 1 of 1
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FORMAT: Paperback
CONDITION:  Brand New
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Product Details:

Format: Paperback
ISBN-10: 0802131514
ISBN-13: 9780802131515
Sku: 30154326
Publish Date: 7/30/2007
Dimensions:  (in Inches) 8.5H x 5.5L x 0.25T
Pages:  82
See more in Drama
 
Pulitzer Prize-winning playwright David Mamet's Uncle Vanya is a sparkling restoration of a masterpiece of the modern stage, marked by Mamet's finely tuned ear for dialogue and memorable poetic imagery.
In "Uncle Vanya," a retired professor and his beautiful young wife return to the country estate left by his deceased first wife to find themselves overwhelmed by the stagnant inevitability of the rituals of their life and class, and mercilessly taxed by the encroachment of age at the expense of youth. All of the play's characters are plunged into that precarious state where, in Beckett's words, "the boredom of living is replaced by the suffering of being."
From the Publisher:
A contemporary adaptation of the classic play which follows a retired professor and his young wife as they return to the country estate left by the professor's deceased first wife
Author Bio
Anton Pavlovich Chekhov
Anton Pavlovich Chekhov, the grandson of a serf, is one of Russia's greatest and most cherished writers. His father was a grocer who, when his business went bankrupt, relocated the family from their port town on the Sea of Azov to the city of Moscow. As a young man, Chekhov studied medicine at the university there, but was always more interested in writing, and after graduating as an M.D., he practiced as a doctor for eight years--but he also did freelance journalism and began writing short comic stories, partly as a way to support his impoverished parents and younger siblings. Gradually, his writing became more somber, serious, and focused, probably reflecting his experiences with the sick and dying; he gave up the practice of medicine and, eventually, concentrated on writing plays. His first full-length play, the autobiographical IVANOV, was completed in 1887, but his first popular and critical success was with a production of THE SEAGULL 10 years later, by the Moscow Art Theater, which went on to produce UNCLE VANYA, THE THREE SISTERS, and THE CHERRY ORCHARD--plays that Chekhov insisted were not tragic but farcical and satirical, and demonstrated the influence of French farces and vaudeville on his writing. All his creative life, Chekhov struggled with his vision of his plays and the way they were produced, even when he worked with the illustrious Stanislavsky. In 1892, he bought a house in the country, continuing to write not only plays but his celebrated stories. Five years later, however, he began to exhibit symptoms of tuberculosis, which had killed several family members. In 1901, he married Olga Knipper, an actress who had appeared in several of his plays, but three years later he was dead, at the age of 34. Chekhov remained unknown outside of Russia until, after World War I, his works began to be translated into English, among other languages. He claimed that he wrote plays in order to show people how to look at their lives in an honest way, recognize the dreariness they lived with, and aim at change. His innovative device of having important action occur offstage, revealed to the audience only through dialogue, has been an influence on subsequent playwrights, as has his blend of comedy and tragedy. His stories are widely read today, and revered, and his plays are theatrical staples all over the world.

Anton Pavlovich Chekhov, the grandson of a serf, is one of Russia's greatest and most cherished writers. His father was a grocer who, when his business went bankrupt, relocated the family from their port town on the Sea of Azov to the city of Moscow. As a young man, Chekhov studied medicine at the university there, but was always more interested in writing, and after graduating as an M.D., he practiced as a doctor for eight years--but he also did freelance journalism and began writing short comic stories, partly as a way to support his impoverished parents and younger siblings. Gradually, his writing became more somber, serious, and focused, probably reflecting his experiences with the sick and dying; he gave up the practice of medicine and, eventually, concentrated on writing plays. His first full-length play, the autobiographical IVANOV, was completed in 1887, but his first popular and critical success was with a production of THE SEAGULL 10 years later, by the Moscow Art Theater, which went on to produce UNCLE VANYA, THE THREE SISTERS, and THE CHERRY ORCHARD--plays that Chekhov insisted were not tragic but farcical and satirical, and demonstrated the influence of French farces and vaudeville on his writing. All his creative life, Chekhov struggled with his vision of his plays and the way they were produced, even when he worked with the illustrious Stanislavsky. In 1892, he bought a house in the country, continuing to write not only plays but his celebrated stories. Five years later, however, he began to exhibit symptoms of tuberculosis, which had killed several family members. In 1901, he married Olga Knipper, an actress who had appeared in several of his plays, but three years later he was dead, at the age of 34. Chekhov remained unknown outside of Russia until, after World War I, his works began to be translated into English, among other languages. He claimed that he wrote plays in order to show people how to look at their lives in an honest way, recognize the dreariness they lived with, and aim at change. His innovative device of having important action occur offstage, revealed to the audience only through dialogue, has been an influence on subsequent playwrights, as has his blend of comedy and tragedy. His stories are widely read today, and revered, and his plays are theatrical staples all over the world.

David Mamet was born on the south side of Chicago in 1947, the son of a labor lawyer and a teacher. He and his younger sister, Lynn, grew up there under the linguistically punctilious eye of their father until David was almost 11, when his parents got a divorce. Lynn and David moved in with their mother and her new husband, who quickly started abusing his new stepchildren. The abuse upset David so much that he moved out of the house and took up with his father again. Living with him, Mamet began to develop an interest in theater, encouraged by an internship at a local community playhouse. In the late 1960s, Mamet went east to college at Goddard College in Vermont, where he devotedly studied theater and where he wrote his first play, "Camel." He was impressive enough as an undergraduate to land successive teaching jobs at Marlboro College and then at Goddard, where he developed a reputation as an incredibly demanding and rewarding teacher. When the teaching work ended, Mamet moved back to Chicago, where he founded the St. Nicholas Theatre Company and started staging his plays regularly, including THE DUCK VARIATIONS in 1972 and, in 1974, SEXUAL PERVERSITY IN CHICAGO, for which he won the important Joseph Jefferson Award for Best New Play. With that award under his belt, Mamet found more and more success, breaking box-office records at the Goodman Theater when his AMERICAN BUFFALO played there in 1975, winning an Obie for SEXUAL PERVERSITY, and winning both an Obie and a New York Drama Critics Circle Award for AMERICAN BUFFALO in 1976. In 1978, with his new wife Lindsay Crouse, Mamet moved to New York City, where his reputation as a playwright with a special gift for dialogue generated work writing screenplays. His first, the 1981 screenplay for THE POSTMAN ALWAYS RINGS TWICE, met with mixed reviews, but his 1983 screenplay for THE VERDICT was nominated for an Academy Award. Over the next decade, Mamet won a Pulitzer Prize (for GLENGARRY GLEN ROSS in 1984), directed his first movie (HOUSE OF GAMES, in 1988), picked up another Academy Award Nomination (for THE UNTOUCHABLES in 1988), divorced Lindsay Crouse, married Rebecca Pidgeon, and wrote a seemingly endless number of plays, screenplays, essays, and children's books. By 1997, when his screenplay for WAG THE DOG both received an Academy Award nomination and seemed eerily to forecast a string of scandal-tainted events in the Clinton administration, Mamet was considered one of America's premiere dramatists. But the brighter his star shone in public, the more Mamet seemed to retreat from the glare of the entertainment industry, moving with Pidgeon and their daughter Clara into a 19th century farmhouse in Vermont, where he cultivated his image as a curmudgeon, a Luddite, and a cigar-smoking, straight-talking, hardworking community man.

Product Attributes
Product attributeeBooks:   Kobo
Product attributeBook Format:   Paperback
Product attributeNumber of Pages:   0082
Product attributePublisher:   Grove/Atlantic
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