The Cherry Orchard is the pinnacle of Russian drama at the beginning of the 20th century, a lyrical comedy, a play that marked the beginning of a new era in the development of the Russian theater.

The main theme of the play is autobiographical - a bankrupt family of noblemen is selling their family estate at auction. The author, as a person who has gone through a similar life situation, with subtle psychologism, describes the state of mind of people who are forced to leave their home soon. The novelty of the play is the lack of division of heroes into positive and negative, into main and secondary. All of them fall into three categories:

people of the past - aristocratic nobles (Ranevskaya, Gaev and their footman Firs);
people of the present - their bright representative merchant-entrepreneur Lopakhin;
the people of the future are the progressive youth of that time (Pyotr Trofimov and Anya).

History of creation

Chekhov began work on the play in 1901. Due to serious health problems, the writing process was rather difficult, but nevertheless, in 1903 the work was completed. First theatrical performance The play took place a year later on the stage of the Moscow Art Theater, becoming the pinnacle of Chekhov's work as a playwright and a textbook classic of the theatrical repertoire.

Play analysis

Description of the work

The action takes place in the family estate of the landowner Lyubov Andreevna Ranevskaya, who returned from France with her young daughter Anya. On railway station they are met by Gaev (Ranevskaya's brother) and Varya (her adopted daughter).

The financial situation of the Ranevsky family is nearing complete collapse. Entrepreneur Lopakhin offers his own version of the solution to the problem - to divide the land into shares and give them for use to summer residents for a certain fee. The lady is weighed down by this proposal, because for this she will have to say goodbye to her beloved cherry orchard, with which many warm memories of her youth are associated. Adding to the tragedy is the fact that her beloved son Grisha died in this garden. Gaev, imbued with the experiences of his sister, reassures her with the promise that their family estate will not be offered for sale.

The action of the second part takes place on the street, in the courtyard of the estate. Lopakhin, with his characteristic pragmatism, continues to insist on his plan to save the estate, but no one pays attention to him. Everyone switches to the appeared teacher Peter Trofimov. He gives an excited speech dedicated to the fate of Russia, its future and touches on the topic of happiness in a philosophical context. The materialist Lopakhin is skeptical about the young teacher, and it turns out that only Anya is able to imbue his lofty ideas.

The third act begins with the fact that Ranevskaya invites an orchestra with the last money and arranges a dance evening. Gaev and Lopakhin are absent at the same time - they left for the city for auction, where the Ranevsky estate should go under the hammer. After a long wait, Lyubov Andreevna finds out that her estate was bought at the auction by Lopakhin, who does not hide his joy from his acquisition. The Ranevsky family is in despair.

The finale is entirely devoted to the departure of the Ranevsky family from their home. The parting scene is shown with all the deep psychologism inherent in Chekhov. The play ends with a remarkably profound monologue by Firs, which the hosts hastily forgot on the estate. The final chord is the sound of an axe. They cut down the cherry orchard.

Main characters

Sentimental person, owner of the estate. Having lived abroad for several years, she has become accustomed to a luxurious life and, by inertia, continues to allow herself a lot that, in the deplorable state of her finances, according to the logic of common sense, should be inaccessible to her. Being a frivolous person, very helpless in everyday matters, Ranevskaya does not want to change anything in herself, while she is fully aware of her weaknesses and shortcomings.

A successful merchant, he owes a lot to the Ranevsky family. His image is ambiguous - it combines industriousness, prudence, enterprise and rudeness, a "muzhik" beginning. At the end of the play, Lopakhin does not share Ranevskaya's feelings; he is happy that, despite his peasant origin, he was able to afford to buy the estate of the owners of his late father.

Like his sister, he is very sensitive and sentimental. Being an idealist and a romantic, to console Ranevskaya, he comes up with fantastic plans to save the family estate. He is emotional, verbose, but completely inactive.

Petya Trofimov

Eternal student, nihilist, eloquent representative of the Russian intelligentsia, advocating for the development of Russia only in words. In pursuit of the "higher truth", he denies love, considering it a petty and illusory feeling, which greatly upsets his daughter Ranevskaya Anya, who is in love with him.

A romantic 17-year-old young lady who fell under the influence of the populist Peter Trofimov. Recklessly believing in better life after the sale of the parental estate, Anya is ready for any difficulties for the sake of joint happiness next to her lover.

An 87-year-old man, a footman in the Ranevskys' house. Type of servant of the old time, surrounds with paternal care of his masters. He remained to serve his masters even after the abolition of serfdom.

A young footman, with contempt for Russia, dreaming of going abroad. A cynical and cruel person, rude to old Firs, disrespectful even to his own mother.

The structure of the work

The structure of the play is quite simple - 4 acts without division into separate scenes. The duration of action is several months, from late spring to mid-autumn. In the first act there is an exposition and a plot, in the second - an increase in tension, in the third - a climax (sale of the estate), in the fourth - a denouement. A characteristic feature of the play is the absence of genuine external conflict, dynamism, and unpredictable twists in the storyline. The author's remarks, monologues, pauses and some understatement give the play a unique atmosphere of exquisite lyricism. The artistic realism of the play is achieved through the alternation of dramatic and comic scenes.

(Scene from a contemporary production)

The play is dominated by the development of the emotional and psychological plan, the main engine of action is the inner experiences of the characters. The author expands art space works by introducing a large number of characters who never appear on the stage. Also, the effect of expanding the spatial boundaries is given by the symmetrically emerging theme of France, which gives arched form to the play.

Final conclusion

Chekhov's last play can be said to be his "swan song". The novelty of her dramatic language is a direct expression of a special Chekhovian concept of life, which is characterized by extraordinary attention to small, seemingly insignificant details, focusing on the inner experiences of the characters.

In the play The Cherry Orchard, the author captured the state of critical disunity of the Russian society of his time, this sad factor is often present in scenes where the characters hear only themselves, creating only the appearance of interaction.

Frame from the film "Garden" (2008)

The estate of the landowner Lyubov Andreevna Ranevskaya. Spring, cherry blossoms. But the beautiful garden is soon to be sold for debts. For the past five years, Ranevskaya and her seventeen-year-old daughter Anya have lived abroad. Ranevskaya's brother Leonid Andreevich Gaev and her adopted daughter, twenty-four-year-old Varya, remained on the estate. Ranevskaya's affairs are bad, there are almost no funds left. Lyubov Andreevna always littered with money. Six years ago, her husband died of alcoholism. Ranevskaya fell in love with another person, got along with him. But soon her little son Grisha died tragically by drowning in the river. Lyubov Andreevna, unable to bear her grief, fled abroad. The lover followed her. When he fell ill, Ranevskaya had to settle him in her dacha near Menton and take care of him for three years. And then, when he had to sell the dacha for debts and move to Paris, he robbed and abandoned Ranevskaya.

Gaev and Varya meet Lyubov Andreevna and Anya at the station. At home, the maid Dunyasha and the familiar merchant Yermolai Alekseevich Lopakhin are waiting for them. Lopakhin's father was a serf of the Ranevskys, he himself became rich, but he says about himself that he remained "a man a man." The clerk Epikhodov arrives, a man with whom something constantly happens and who is called "twenty-two misfortunes."

Finally, the carriages arrive. The house is filled with people, all in a pleasant excitement. Everyone talks about their own. Lyubov Andreevna looks around the rooms and through tears of joy recalls the past. Maid Dunyasha can't wait to tell the young lady that Epikhodov proposed to her. Anya herself advises Varya to marry Lopakhin, and Varya dreams of marrying Anya to a rich man. The governess Charlotte Ivanovna, a strange and eccentric person, boasts of her amazing dog, the neighbor landowner Simeonov-Pishchik asks for a loan. He hears almost nothing and all the time mutters something old faithful servant Firs.

Lopakhin reminds Ranevskaya that the estate should soon be sold at auction, the only way out is to break the land into plots and lease them to summer residents. Lopakhin's proposal surprises Ranevskaya: how can you cut down her favorite wonderful cherry orchard! Lopakhin wants to stay longer with Ranevskaya, whom he loves "more than his own," but it's time for him to leave. Gaev delivers a welcoming speech to the hundred-year-old "respected" closet, but then, embarrassed, again begins to senselessly pronounce his favorite billiard words.

Ranevskaya did not immediately recognize Petya Trofimov: so he changed, became uglier, the “dear student” turned into an “eternal student”. Lyubov Andreevna cries, remembering her little drowned son Grisha, whose teacher was Trofimov.

Gaev, left alone with Varya, tries to talk about business. There is a rich aunt in Yaroslavl, who, however, does not love them: after all, Lyubov Andreevna did not marry a nobleman, and she did not behave “very virtuously”. Gaev loves his sister, but still calls her "vicious", which causes Ani's displeasure. Gaev continues to build projects: his sister will ask Lopakhin for money, Anya will go to Yaroslavl - in a word, they will not allow the estate to be sold, Gaev even swears about it. The grouchy Firs finally takes the master, like a child, to sleep. Anya is calm and happy: her uncle will arrange everything.

Lopakhin does not cease to persuade Ranevskaya and Gaev to accept his plan. The three of them had lunch in the city and, returning, stopped in a field near the chapel. Just here, on the same bench, Epikhodov tried to explain himself to Dunyasha, but she had already preferred the young cynical footman Yasha to him. Ranevskaya and Gaev do not seem to hear Lopakhin and talk about completely different things. So without convincing “frivolous, unbusinesslike, strange” people of anything, Lopakhin wants to leave. Ranevskaya asks him to stay: with him "it's still more fun."

Anya, Varya and Petya Trofimov arrive. Ranevskaya starts talking about a "proud man." According to Trofimov, there is no point in pride: a rude, unhappy person should not admire himself, but work. Petya condemns the intelligentsia, who are incapable of work, those people who philosophize importantly, and treat peasants like animals. Lopakhin enters the conversation: he just works “from morning to evening”, dealing with big capital, but he is becoming more and more convinced how few decent people are around. Lopakhin does not finish, Ranevskaya interrupts him. In general, everyone here does not want and does not know how to listen to each other. There is silence, in which the distant sad sound of a broken string is heard.

Soon everyone disperses. Left alone, Anya and Trofimov are glad to have the opportunity to talk together, without Varya. Trofimov convinces Anya that one must be “above love”, that the main thing is freedom: “all of Russia is our garden”, but in order to live in the present, one must first redeem the past with suffering and labor. Happiness is near: if not they, then others will definitely see it.

Comes the twenty-second of August, the day of trading. It is on this evening, quite inopportunely, that a ball is being held in the estate, a Jewish orchestra is invited. Once, generals and barons danced here, and now, as Firs complains, both the postal official and the head of the station "do not go willingly." Charlotte Ivanovna entertains guests with her tricks. Ranevskaya anxiously awaits the return of her brother. The Yaroslavl aunt nevertheless sent fifteen thousand, but they are not enough to buy the estate.

Petya Trofimov “reassures” Ranevskaya: it’s not about the garden, it’s been over for a long time, we need to face the truth. Lyubov Andreevna asks not to condemn her, to feel sorry for her: after all, without a cherry orchard, her life loses its meaning. Every day Ranevskaya receives telegrams from Paris. At first, she tore them up immediately, then - after reading them first, now she doesn't vomit. "That wild man", whom she still loves, begs her to come. Petya condemns Ranevskaya for her love for "a petty scoundrel, a nonentity." Angry Ranevskaya, unable to restrain herself, takes revenge on Trofimov, calling him a “funny eccentric”, “freak”, “clean”: “You must love yourself ... you must fall in love!” Petya tries to leave in horror, but then stays, dancing with Ranevskaya, who asked for his forgiveness.

Finally, the embarrassed, joyful Lopakhin and the tired Gaev appear, who, without saying anything, immediately goes to his room. The Cherry Orchard was sold and Lopakhin bought it. The "new landowner" is happy: he managed to beat the rich Deriganov at the auction, giving ninety thousand in excess of the debt. Lopakhin picks up the keys thrown on the floor by the proud Varya. Let the music play, let everyone see how Yermolai Lopakhin “suffices with an ax in the cherry orchard”!

Anya comforts her crying mother: the garden has been sold, but there is a whole life ahead. There will be a new garden, more luxurious than this, "quiet deep joy" awaits them ...

The house is empty. Its inhabitants, having said goodbye to each other, disperse. Lopakhin is going to Kharkov for the winter, Trofimov returns to Moscow, to the university. Lopakhin and Petya exchange barbs. Although Trofimov calls Lopakhin a "predatory beast", necessary "in the sense of metabolism", he still loves in him "a tender, subtle soul." Lopakhin offers Trofimov money for the journey. He refuses: over " a free man"," in the forefront of going "to the" highest happiness ", no one should have power.

Ranevskaya and Gaev even cheered up after the sale of the cherry orchard. Previously, they were worried, suffering, but now they have calmed down. Ranevskaya is going to live in Paris for the time being on the money sent by her aunt. Anya is inspired: it starts new life- she will finish the gymnasium, will work, read books, "a new wonderful world" will open before her. Suddenly, out of breath, Simeonov-Pishchik appears and, instead of asking for money, on the contrary, distributes debts. It turned out that the British found white clay on his land.

Everyone settled down differently. Gaev says that now he is a bank servant. Lopakhin promises to find a new place for Charlotte, Varya got a job as a housekeeper to the Ragulins, Epikhodov, hired by Lopakhin, remains on the estate, Firs should be sent to the hospital. But still, Gaev sadly says: "Everyone is leaving us ... we suddenly became unnecessary."

Between Varya and Lopakhin, an explanation must finally occur. For a long time, Varya has been teased by "Madame Lopakhina." Varya likes Yermolai Alekseevich, but she herself cannot propose. Lopakhin, who also speaks well of Vara, agrees to "put an end immediately" to this matter. But when Ranevskaya arranges their meeting, Lopakhin, without deciding, leaves Varia, using the very first pretext.

“Time to go! On the road! - with these words, they leave the house, locking all the doors. All that remains is old Firs, who, it would seem, everyone took care of, but whom they forgot to send to the hospital. Firs, sighing that Leonid Andreevich went in a coat, and not in a fur coat, lies down to rest and lies motionless. The same sound of a broken string is heard. "There is silence, and only one can hear how far in the garden they knock on wood with an ax."

retold

In this article:

"The Cherry Orchard" is a work that is studied according to the school curriculum in literature lessons. In recent years, students have been asked to compile a Reader's diary based on the works they read.

This text is suitable for a sample according to the characteristics of the main characters and the description of the content of the work.

How it all began: briefly about the history of the creation of the play by A.P. Chekhov "The Cherry Orchard"

A play by A.P. Chekhov's The Cherry Orchard was completed in 1903. The writing of the work due to the writer's poor health lasted 2 years.

The work was based on the abolition of serfdom in 1861 and subsequent changes public life in Russia. In each hero of The Cherry Orchard, one can see a vivid image of a representative of a certain class.

After the liberation of the peasants, not only the nobles did not understand what would happen next. Many serfs (the image of Firs) also did not know what to do with the freedom that had fallen so suddenly on their heads.

There was a gradual ruin of noble nests: representatives of the free class were accustomed to living off free work force peasants without doing anything. The more mobile representatives of the merchant class, accustomed to spinning for money, begin to win in this situation. Anton Pavlovich takes materials for The Cherry Orchard and characters from real life their acquaintances. The following events helped in writing the work:

the writer's acquaintance with the Kiselev family in 1885-1887, who went bankrupt and sold their estate;
Chekhov's vacation in 1888-1889 at the Lintvarev estate, not far from Sumy, Kharkov province, where there were many lonely noble nests;
life in Melikhovo in 1892-1898;
stay of the author of the play in 1902. in the village of Lyubimovka - the estate of Stanislavsky

This is how the storyline of the play unfolds. By observing the lives of people in different periods of his work, A.P. Chekhov created a unique comedy work, which is distinguished by subtle humor and reflects the fundamental problems of society in the late 19th and early 20th centuries.

The main characters of the play "The Cherry Orchard"

Ranevskaya Lyubov Andreevna - a landowner, a widow, mourning her drowned son Grisha. An emotional, dreamy person who does not want to admit the truth of life and is accustomed to living with everything ready.
Gaev Leonid Andreevich is her brother, who fully supports the views of her sister.
Anya is the 17-year-old daughter of Ranevskaya. The heroine got used to the thought of losing the garden, ready to change her life.
Varya, an adopted daughter, remained on the estate as a mistress in the absence of her mother.
Lopakhin Ermolai Alekseevich - a merchant, prosperous, practical, illiterate. His parents were serfs on the Ranevsky estate. He tries to prove to everyone and himself that he is worth something.
Petya Trofimov - "eternal student", former teacher of the drowned son of Ranevskaya. He likes to philosophize and teach everyone, but he could not achieve something worthwhile in life.

Basic information about secondary characters

Dunyasha is a maid, a sensual, vulnerable girl.
Yasha is an impudent young lackey, striving for luxury and a comfortable, intelligent life.
Charlotte Ivanovna is a governess.
Firs, an 87-year-old lackey, a faithful servant, would be glad to be still a serf.
Simeonov-Pishchik Boris Borisovich - a landowner, lives in debt all his life.
Epikhodov Semyon Panteleevich is a clerk with whom something happens all the time.

The Ranevskys do not have enough money to support their estate. Because of the acquired debts, it is put up for auction. Family members, as well as their acquaintances, are looking for ways to preserve their beloved cherry orchard. But hardly any of them are really trying to solve the problem that has arisen.

First action

At the Ranevskaya estate, everyone is waiting for the arrival of the hostess and her daughter Anya from Paris: Lopakhin, Dunyasha, Firs, Simeonov-Pishchik. The brother and adopted daughter of Lyubov Andreevna meet them at the station.

Lopakhin tells Dunyasha about how, despite the poor origin of his parents and their subordination to the Ranevskys, he became a rich and independent merchant. Although he immediately admits that he remained uneducated, he cannot even understand the book he read. And while reading, he falls asleep.

Epikhodov intervenes in the conversation, complaining about another misfortune that happened to him: creaking boots - everyone gets tired of his complaints. Because of the constant troubles, this hero is called "22 misfortunes." After his departure, Dunyasha confesses to Lopakhin that the clerk proposed to her. But Ermolai Alekseevich, like other gentlemen, does not care about inner peace and servant problems.

The crew with the owners drives up. Dunyasha and Firs cordially greet the Ranevskys, worry and take care of the housework. With Lyubov Andreevna and Anya came the footman Yasha and the governess Charlotte.

Varya rejoices at the arrival of her relatives. In communication with her sister, Anya admits the deplorability of the current situation: all the family's funds have been spent, the land near Mentona has been sold, the cherry orchard is about to be put up for sale, the auction is scheduled for August 22. But the mother does not see this, she continues to spend money thoughtlessly. Varya admits that Lopakhin is in no hurry to propose to her, although everyone already considers her the wife of a merchant.

Anya complains of being tired and goes to bed, ignoring her uncle's compliments and her mother's questions. Lyubov Andreevna finds an excuse for her: she is very tired.

Gaev retells to his sister the changes that have taken place (who died, who moved to another estate), sucking on candy. Lopakhin finds a convenient moment to offer Ranevskaya to divide the estate into plots and rent it out to summer residents. This way you can cover your debts. The hosts take the offer with hostility: they are against cutting their favorite cherries.

However, instead of looking for other ways to solve the problem, everyone smoothly moves on to discussing everyday trifles: furniture, medicines, nature. Upon arrival, Lyubov Andreevna constantly admires everyone and everything that she sees in the house. Emotions overwhelm the hostess. She does not seem to notice the threat looming over the estate.

Lopakhin leaves, giving Ranevskaya 3 weeks to think. Pyotr Trofimov, the former teacher of Lyubov Andreevna's son, arrives. The hostess remembers Grisha with tears in her eyes, but quickly moves on to another topic. Pishchik asks for a loan of two hundred and forty rubles. The lack of extra money does not prevent the hostess from giving the landlord the required amount.

To save the cherry orchard, Gaev suggests asking for help from his aunt-countess from Yaroslavl. He notes that a distant relative does not like them because of the ignoble origin of her husband Lyubov Andreevna and her unrighteous lifestyle. But still it should help. Leonid Andreevich also considers it necessary to ask for a loan from Lopakhin and take a loan against bills.

Despite the naivety and hopelessness of Gaev's proposal, the Ranevskys like it, and everyone quickly calms down. Anya who came only reproaches her uncle for what was said in relation to her mother. The nieces accuse Leonid Andreevich of frequent idle talk, calling him to silence. The heroes go to sleep.

Second act

The action takes place in a field, not far from an abandoned chapel. Yasha, Dunyasha, Charlotte and Epikhodov are talking on the bench. Charlotte talks about her past: her parents staged performances at fairs, then died, the girl was brought up by a German mistress. The governess is indignant that she has no one to talk to.

The clerk plays the guitar, he confesses his love to Dunyasha. However, the girl is in love with Yasha, who flirts with her without serious intentions. The footman is embarrassed about his relationship with Dunyasha.

Everyone except Yasha leaves. The voices of the hosts are heard: Gaev, Ranevskaya and Lopakhin. Lopakhin is trying to persuade Lyubov Andreevna to agree to renting out the garden. But the conversation again leads to nothing: everyone continues to communicate on extraneous topics.

Ranevskaya admits that she can't do anything about her extravagance, and gives a golden one to a passing alcoholic. The mistress talks about a failed relationship with a man who went abroad with her and ruined her. Letters from Paris from him - asks Ranevskaya to forgive and return.

Lopakhina Lyubov Andreevna woo Varya, the merchant agrees to marry. Gaev is again scolded for unnecessary, empty chatter. Firs does not hear well - everyone laughs at him, but they do not notice that they themselves are talking to each other like a deaf footman: everyone talks about his own, not listening to others.

Trofimov and the Ranevsky sisters join the gentlemen. Lopakhin calls Trofimov "an eternal student." Peter talks a lot beautiful words but you won't get any action from him.

Anya and Petya are happy to be alone. The former teacher speaks about the prevailing realities, urging himself, Anya and her relatives to face the truth. 17-year-old Ranevskaya is ready to leave her family property and start a new life.

Third act

August 22 is the day of the auction. A ball was arranged in the Ranevsky's living room. Everyone is waiting for Leonid Gaev. Pishchik again asks everyone for money to pay off his debts.

Petya teases Varya Lopakhina. She, in response, calls the offender "an eternal student" and "a shabby gentleman." In fact, Varya is upset that Lopakhin has not yet proposed to her.

No one understands why the ball is organized, who will pay the musicians. But everyone, as always, goes with the flow. Charlotte demonstrates her skill by performing magic tricks: everyone applauds, especially Pishchik.

Another letter arrives from Paris. Lyubov Andreevna decides to go to Paris because her lover is ill and needs help. Trofimov denounces such an impulse, calling her lover a "scoundrel."

In response, Ranevskaya reproaches Petya for empty chatter about high love, the inability to really love and forgive. Petya is offended, leaves and falls down the stairs, the hostess apologizes for what she said.

Firs is unwell. But he will not go to rest: without the old lackey there will be no one to serve the gentlemen. Epikhodov continues to complain about life, but he says about himself that he always smiles and laughs. Varya drives him out of the house with a stick and hits Lopakhin.

Ermolai Alekseevich announces that he bought the garden. Now he can do what he wants with the estate, in which his father and grandfather were serfs. Lyubov Andreevna is in despair. Anya reassures her, promises to grow a new garden.

Fourth act

Suitcases are stacked in the children's room. There is practically no furniture, the room is empty. Everyone is getting ready to leave. Lopakhin prepared a tray of champagne. Nobody except Yasha drinks it.

Ranevskaya and her brother are in a confused state, Anya and Petya are looking forward to a new interesting life They seem to have escaped from captivity. Everyone notes that after the sale of the estate, life became easier: nothing bothers. Lopakhin is waiting for the departure of the former owners in order to realize his project - cutting down the garden for summer cottages.

Trofimov and Lopakhin start a conversation. Petya advises Yermolai Alekseevich not to wave his arms unnecessarily. The merchant offers the student money as a loan, but Trofimov, demonstrating his pride and love of freedom, refuses.

Everyone is leaving in different directions: Lyubov Andreevna - to Paris, Petya - to Moscow, Anya - to study, Gaev is taken to a bank, and Varya goes as a housekeeper to another estate. Ermolai Alekseevich goes to work in Kharkov for the winter.

Dunyasha is upset by Yasha's departure, and the young footman is waiting - he can't wait to leave for Paris. Epikhodov and Charlotte remain to work for Lopakhin.

Pishchik comes running and gives Ranevskaya part of the debt. Everyone is surprised, but the landowner explains that the British found deposits of valuable white clay from him and rented his land for a lot of money.

Ranevskaya makes another attempt to bring her adopted daughter to Lopakhin. Ermolai Alekseevich agrees to take her as his wife, but in a personal conversation with the girl about the proposal he does not stutter.

The sick Firs, forgotten by everyone, remains in the house. There were so many conversations among the gentlemen about sending him to the hospital, but no one did. Firs dies in a closed empty house, thinking about how his former owner would not freeze.

Introducing summary Chekhov's works Cherry Orchard by Action.

The play" The Cherry Orchard"contains 4 actions that take place in the estate of L.A. Ranevskaya.

Cherry Orchard Summary by Action

Brief summary of actions:

The first act of the play "The Cherry Orchard" takes place in the early May dawn in the room "which is still called the nursery."

The second act of The Cherry Orchard takes place in nature, not far from the old church, which offers a beautiful view of the cherry orchard and the city visible on the horizon.

The third act of the play begins in the evening in the living room. Music is playing in the house, couples are dancing. It is there that a dispute arises that for the sake of love you can lose your head.

The fourth act of Chekhov's play takes place in an empty nursery, where luggage and other things are waiting to be taken out in the corner. The sound of trees being cut down can be heard from the street.

At the end of the play, the house is closed. After that, the lackey Firs appears, who was simply forgotten in the confusion. He understands that the house is already closed, and he was simply forgotten. True, he is not angry with the owners, but simply lies down on the sofa and soon dies.

There is a sound of a broken string and ax hitting a tree. A curtain.

The Cherry Orchard - summary read

The work of A.P. Chekhov - "The Cherry Orchard" begins with scenes of waiting for all the hostesses of the estate. The hostess is Ranevskaya Lyubov Andreevna, a landowner. She went abroad five years ago, after the death of her husband and the tragic death of her beloved little son.

A lyrical play in four acts by Anton Pavlovich Chekhov describes such a season as spring, the time when cherry trees bloom and delight the eyes of others with all their beauty. All the characters who are waiting at home for the arrival of the hostess are very worried and worried, because very soon this beautiful garden should be sold in payment of all those debts that have accumulated during the absence of the hostess and during the time that she lived in Paris and spent money on herself to please. In addition to her husband and son, Ranevskaya has a seventeen-year-old daughter, Anya, with whom the mistress of the estate has lived with her for the past five years abroad. In the estate itself, after the departure of Lyubov Andreevna, her native Leonid Andreevich Gaev and her adopted daughter, a twenty-four-year-old girl, whom everyone called simply Varya, remained. Over the past five years, Ranevskaya has turned from a wealthy society lady into a poor woman with a bunch of debts behind her back. All this happened because Lyubov Andreevna always and everywhere wasted money and never saved on anything. Six years ago, Ranevskaya's husband died from drunkenness. However, the wife is not very upset by this fact and soon falls in love with another person and converges with him. To all the misfortunes that have already happened to Lyubov Andreevna, her little son Grisha tragically dies by drowning in the river. Ranevskaya is simply unable to endure such terrible grief and sees no other way out, how to quickly escape abroad. Her lover, unable to live without her, followed her. However, the troubles of Lyubov Andreevna do not end there. Soon her lover became very ill, and Ranevskaya simply had no choice but to settle him in her dacha near Menton and almost never leave his bed for three years and constantly look after him. However, all the lover's love was just a deception, because as soon as the dacha had to be sold for debts and moved to Paris, he simply took, robbed and abandoned Ranevskaya.

Leonid Andreevich Gaev and Ranevskaya's adopted daughter Varya meet Lyubov Andreevna and Anya at the station. In the estate, the mistress and her daughter are impatiently maid Dunyasha and family friend, merchant Yermolai Alekseevich Lopakhin. The father of this same Lopakhin was in previous years a serf of the Ranevskys. Yermolai Alekseevich himself became rich, but still believes that wealth did not affect his character and life prerogatives in any way. The merchant considers himself ordinary, simple, without special requirements man. Also on the occasion of the arrival of the landlady herself, the clerk Epikhodov comes to the estate of the landowner. The clerk is the same person with whom something constantly happens and who, jokingly, with a grain of truth, was nicknamed "twenty-two misfortunes."

Carriages are approaching the estate. The Ranevsky estate is filled with people who are all in pleasant excitement. Each of those in the house speaks about his own, while paying little attention to the problems and desires of others. Lyubov Andreevna walks all over the estate, looks at all the rooms, and through tears of joy remembers the past, the very moments that gave her so much joy and warmth. The play also described some love stories. For example, the maid Dunyasha, upon the arrival of the young lady, is simply impatient to tell that Epikhodov himself made a marriage proposal to her. Ranevskaya's daughter Anya advises her sister Varya to marry Lopakhin, and Varya, in turn, dreams of marrying Anya to a very rich man. The governess Charlotte Ivanovna, being a very strange and eccentric person, boasts to everyone about her wonderful dog. Neighbor landowner Boris Borisovich Simeonov-Pishchik asks for a loan from Ranevskaya. The very old and most faithful servant Firs can no longer hear anything, and all the time he mutters quietly something under his breath.

Merchant Ermolai Alekseevich Lopakhin reminds Lyubov Ranevskaya that her estate should be sold at auction in the near future. The merchant sees the only way out of this situation in dividing the land into small plots, which can then be leased to summer residents. This kind of proposal by Lopakhin is very surprising to Ranevskaya. She cannot understand how it is even possible to cut down her beloved and wonderful cherry orchard. Lopakhin, in turn, really wants to stay longer with Ranevskaya. The merchant turns out to be madly in love with Lyubov Andreevna. Gaev delivers a welcoming speech to the hundred-year-old "respected" closet, but then, embarrassed, starts talking again, while using all sorts of his favorite billiard words.

Ranevskaya does not immediately recognize former teacher her drowned seven-year-old son Petya Trofimov. In her eyes, the teacher has changed a lot, has become less handsome, has become one of those people who study all their lives, but at the same time most often do not apply the knowledge they have received. The meeting with Petya awakens in the landowner the memories of her little drowned son Grisha, whose teacher was Trofimov.

Leonid Andreevich Gaev, left alone with Varya, and taking this opportunity, tries to talk about all the important matters that have fallen on them lately. Gaev also recalls a very rich aunt who lives in Yaroslavl, who, however, does not like them. All her dislike is connected with the fact that Lyubov Andreevna did not marry a nobleman, and besides everything else, she did not behave modestly and in financial matters and in secular life. Leonid Andreevich loves his sister very much, but still calls her a woman of easy virtue, which in turn causes Ani's strong dissatisfaction. Gaev makes certain plans for the future life path all his family members. He really wants his sister to ask Lopakhin for money so that Anya goes to Yaroslavl. Simply put, he wants to do everything possible to ensure that the estate is not sold. Gaev even swears in all this. Grumpy, but the most devoted servant Firs, finally takes his master, like a child, to his chambers and puts him to bed. Anya wholeheartedly believes that her uncle will be able to solve all the problems they have, she is happy and calm.

Lopakhin, in turn, does not deviate a single step from his magnificent plan and continues to persuade Ranevskaya and Gaev to accept his magnificent plan for further actions. Ranevskaya, Gaev and Lopakhin all had breakfast together in the city and on the way home they decided to stop in a field near the chapel. At the same time, a little earlier, on the same bench near the chapel, Epikhodov tried to explain himself to Dunyasha. But to his dismay, Dunyasha had already preferred the cynical and young lackey named Yasha to him. The owners of the estate, namely Ranevskaya and Gaev, in a conversation with Lopakhin, do not seem to hear him at all and talk about completely different things. All persuasion and begging lead to nothing, Lopakhin wants to leave, because it does not make sense to continue this conversation with such unbusinesslike, strange and frivolous people. However, Lyubov Andreevna asks him to stay, because she really likes Lopakhin's company.

After that, Anya, Varya and Petya Trofimov come to Ranevskaya, Gaev and Lopakhin. Ranevskaya starts a conversation about such a human quality as pride, about the features of this quality and the types of people who have this quality of human character. Trofimov is sure that there is no point in pride. He believes that it is better for an unhappy and rude person to start working than to continue to admire himself. Petya simply condemns the very intelligentsia, which is completely incapable of work. He condemns those people who only know how to philosophize importantly, and ordinary men are treated simply simply, like animals. Lopakhin also participates in this conversation. Because of the peculiarity of his life, he is at work day and night. In his work, he encounters big amount people, but among this mass there are very few decent people. On this topic, small disputes and certain demagoguery occur between the participants in the conversation. Lopakhin does not finish, Ranevskaya interrupts him. It can be concluded that most of the participants in the conversation do not want or do not know how to listen to each other. After all the arguments, there is a deaf silence, in which a rather distant sad sound of a broken string is heard.

Soon after such a lively conversation, everyone begins to disperse. Left alone with each other, Anya and Trofimov were very glad to have the opportunity to talk together, without Varya. Trofimov tells Anya that it is simply necessary to extinguish in oneself all those feelings that people call love. He tells her about such a human condition as freedom, that it is simply necessary to live in the present. But in order to know all the delights of life, one must first atone for all the bad things that were done in the past through suffering and labor. Happiness is already very close, and if they don’t see it and don’t experience it, then others will definitely see that very happiness and freedom.

The most important and responsible day is coming - the day of trading - the twenty-second of August. On this day, in the evening, a special evening was planned at the estate - a ball. Even a Jewish orchestra was invited to this event. There were times when only generals and barons danced at balls on the estate. And now, as Fiers notes, postal officials and stationmasters are barely going to this event. Charlotte Ivanovna entertains all those present at this event in every possible way with her tricks. The owner of the estate, Lyubov Andreevna Ranevskaya, is anxiously awaiting the return of her brother. The Yaroslavl aunt, despite all her hatred of the landowner, nevertheless sent fifteen thousand. However, this amount was not enough to buy the entire estate.

The former teacher of the deceased son of Ranevskaya, Petya Trofimov, reassured Ranevskaya with all his might. He persuaded her not to think about the garden anymore, that it was finished long ago, you just need to face the truth. Lyubov Andreevna found herself in a very difficult situation, both financial and spiritual. The hostess asks not to condemn her, but on the contrary - to regret. Without the cherry orchard, her life loses all meaning. All the time while Ranevskaya is on the estate, she receives telegrams from Paris every day. At first, she just tore them right away, but then the next ones began to read and also then to tear. The same runaway lover, whom she still loved to this day, in each of the letters begged her to come back to Paris. Although Petya does not want to cause Ranevskaya even more pain, he still condemns her for her love for such a petty scoundrel, a nonentity. Offended and very angry, Ranevskaya, with all her upbringing, could not restrain herself, takes revenge on Trofimov. She calls him an eccentric, an ugly man and a miserable tidy man. Ranevskaya pays attention to the fact that people just need to love and fall in love. Petya, having heard this addressed to him, wants to leave, but soon decides to stay, dances with Ranevskaya, who asked him for forgiveness.

A tired Gaev and a joyful Lopakhin appear on the threshold of the ballroom. Gaev immediately goes to his room without saying anything. The Cherry Orchard still turns out to be sold, and the same Lopakhin bought it. The new owner of the estate is very happy, because at the auction he managed to surpass the rich Deriganov, giving ninety thousand in excess of the debt. Lopakhin proudly picks up the keys that were thrown on the floor by proud Varya. Now his main desire is for the music to continue to play and for everyone to see how Yermolai Lopakhin rejoices that it is he who is now the owner of this whole beautiful cherry orchard.

After the news that the garden was sold, Anya had no choice but to comfort her crying mother. The daughter assured her mother that even though the garden was sold, life did not end there and they still had a whole life ahead of them. Anya was sure that in their life there would still be a new garden, more luxurious than the one that was sold, and that a calm, moderate life awaited them, in which there would still be a lot of reasons for joy.

The house, which recently belonged to Ranevskaya, gradually became empty. All those who lived there, saying goodbye to each other, began to disperse. Lopakhin Ermolai Alekseevich is going to Kharkov for the winter, Trofimov Petya returns to Moscow again, to his university and continues to live life as a bosom student. Lopakhin and Petya exchange several barbs with each other at parting. Although Trofimov calls Lopakhin a predatory person, he still sees in him a person who is capable of tender feelings, who can enter into the position of others and who subtly feels those around him. Lopakhin, out of the kindness of his soul, even offers Trofimov money for the journey. He, of course, refuses. He believes that this type of handout is like a powerful hand, which, for the sake of its subsequent profit, is now ready to assist common man. Trofimov is simply sure that a person should always be free and independent of someone or something, no one and nothing should interfere with him on the path to achieving his life goals.

After the sale of the cherry orchard, Ranevskaya and Gaev even cheered up, as if a weight had fallen from their shoulders, they stopped carrying this heavy burden. If earlier they were agitated, experienced constant suffering, now they have completely calmed down. Mrs. Ranevskaya's future plans include living in Paris on the very money that was sent by her aunt. Ranevskaya's daughter Anya is inspired. She believes that right now she is starting a completely new life, in which she must graduate from high school, find a job, work, read books, in general, she is simply sure that a new wonderful world will open before her. Boris Borisovich Simeonov-Pishchik, on the contrary, instead of asking for money, on the contrary, distributes debts. It turned out that the British found white clay on his land.

All the heroes of the lyrical play settled down in different ways. Gaev has now become a bank servant. Lopakhin promises to find a new place for Charlotte with all his might. Varya got a job as a housekeeper to the Ragulin family. Epikhodov, in turn, was hired by Lopakhin and remains on the estate to serve the new owner. The elderly Firs should be sent to the hospital for further care and treatment. However, Gaev thinks, and he has reason to believe that all people, one way or another, leave us, we just suddenly become unnecessary to each other.

Between lovers Varya and Lopakhin, finally, such a long-awaited explanation should occur. For a long time, Varya has been teased by everyone around and called Madame Lopakhin, while laughing at the fact that she is still not one. Varya, as a timid girl, cannot propose, even though she really likes Ermolai Alekseevich. Lopakhin, too, was no longer satisfied with the current situation, he wanted to end it as soon as possible and explain himself to Varya already. He spoke well of Vara, was completely ready to put an end to this matter once and for all. Ranevskaya, who was also aware of the situation, decides to arrange a meeting for them. However, at the meeting, Lopakhin, still not daring to explain himself, leaves Varya, using the first pretext for this.

The play "The Cherry Orchard" ends on a sad note, when all the people who met in the estate leave it, while locking all the doors to the castle. It would seem that all the inhabitants of the estate cared for and helped the old Firs, but still he remains completely alone. No one even remembered that he needed treatment, rest and care. And even after that, old Firs remains a man and sincerely worries, because Leonid Andreevich went to such a cold in a thin coat, and not in a warm fur coat. Due to his age and condition, he lies down to rest and lies motionless, as if accepting and understanding his future fate without a fight. The sound of a broken string will be heard. There is a deaf pitch silence, which is interrupted only by the barely audible somewhere in the distance, in the very center of the cherry orchard, the blows of an ax knocking on a tree.

⚿ Cherry Orchard Summary of Actions.
⚿ The Cherry Orchard as a play about the past, present and future of Russia.

The Cherry Orchard was created by Chekhov in 1903. This is a play about the decline of noble life on the estates, about the imaginary and real owners of the Russian land, about the inevitable renewal of Russia. Chekhov presented the obsolete past of Russia with the play The Cherry Orchard. A summary follows below.

First, let's introduce the main characters:

Landowner Lyubov Andreevna Ranevskaya. Her own daughter Anya is 17 years old. Adopted daughter Varya, 24 years old. Brother Ranevskaya - Gaev Leonid Andreevich. Student Trofimov Petr Sergeevich. Governess Charlotte Ivanovna. Merchant Lopakhin Ermolai Alekseevich. Landowner Semionov-Pishchik Boris Borisovich. Maid Dunyasha. Young footman Yasha. Old footman Firs. Clerk Semyon Panteleevich Epikhodov.

"The Cherry Orchard": a summary of the first act

Dawn. Outside the window is spring, blossoming cherry trees can be seen. Only it is still cold in the garden, so all the windows are closed. Lopakhin and Dunyasha enter the room. They talk about the train that was late. And Lopakhin is upset that he could not meet Lyubov Andreevna, who recently lived abroad, at the station.

Then Epikhodov enters, he recently proposed to Dunyasha. Everyone hears two carriages drive up. The turmoil begins. The footman Firs enters, dressed in an ancient livery. And behind him comes Ranevskaya, Gaev, Anya, Simionov-Pishchik and Charlotte Ivanovna. Anya and Ranevskaya reminisce about the past.

Then Anya talks with Varya. She talks about her experience of finding her mother there without money, among strangers. But Ranevskaya did not seem to understand her position. She gives the lackeys a ruble for tea, and they order the most exquisite and expensive dishes. But in fact, the money was barely enough to get home. And now the estate must be sold, the auction is scheduled for August.

"The Cherry Orchard": a summary of the second act

Evening. Sunset. The action takes place at an abandoned chapel. Lopakhin is interested in plots for dachas. He believes that the land should be divided into plots and leased out. Only for this you have to cut down the cherry orchard. But Ranevskaya and Gaev are against it, they call it vulgarity. Gaev dreams of some kind of inheritance, of the Yaroslavl aunt, who promised to give money, but how much and when it will be is unknown. Merchant Lopakhin once again recalls the auction.

"The Cherry Orchard": a summary of the third and fourth acts

The Jewish orchestra is playing. Dancing couples all around. Varya is worried that the musicians were invited, but they have nothing to pay. Ranevskaya cannot wait for her brother to arrive from the auction. Everyone hopes that he bought the estate for the money sent by the Yaroslavl aunt. Only she sent only fifteen thousand, and they are not even enough for interest. Gaev and Lopakhin are returning from the auction. Guy is crying. Ranevskaya learns that the garden has been sold, its new owner is Lopakhin. She almost faints.

There is little furniture in the rooms, no curtains or paintings. Worth the luggage. Lopakhin warns that in a few minutes you need to go. Gaev went to work in a bank. Ranevskaya travels to Paris with her aunt's money sent from Yaroslavl. Yasha goes with her. Gaev and Ranevskaya are depressed, they say goodbye to the house. Anya thinks that her mother will return to her soon. And she will study at the gymnasium, go to work and begin to help her mother. Everyone gets out noisily and leaves for the station. And only the forgotten Firs remained in the closed house. Silence. The sound of an ax is heard.

"The Cherry Orchard": analysis. Basic moments

The summary tells us that Gaev and Ranevskaya are an obsolete past. The Cherry Orchard is dear to them as a memory of childhood days, of well-being, of youth, of an easy and graceful life. And Lopakhin understands this. He tries to help Ranevskaya by offering to rent land. There is simply no other way out. Only the lady, as always, is careless, she thinks that everything will somehow resolve itself. And when the garden was sold, she did not grieve for long. The heroine is not capable of serious experiences, she easily moves from anxiety to cheerful animation. And Lopakhin is proud of the purchase and dreams of his new life. Yes, he bought the estate, but still remained a peasant. And the owners of the cherry orchard, although ruined, are, as before, gentlemen.

The central line of the play by A.P. Chekhov's "The Cherry Orchard" lies in the conflict between the nobility and the bourgeoisie, and the first must give way to the second. In parallel, another conflict develops - a socio-romantic one. The author is trying to say that Russia is a beautiful garden that should be preserved for posterity.

The landowner Lyubov Andreevna Ranevskaya, who owns an estate and a cherry orchard, has long been bankrupt, but she is used to leading an idle, wasteful lifestyle and therefore cannot change her habits. She is not able to understand that in modern times it is necessary to make efforts in order to survive and not die of hunger, this is how our summary describes her. "The Cherry Orchard" by Chekhov, only in full reading is able to reveal all the experiences of Ranevskaya.

Ranevskaya constantly thinks about the past, her confusion and resignation to fate are combined with expressiveness. A woman prefers not to think about the present, because she is mortally afraid of it. However, she can be understood, since she was seriously spoiled by the habit of going through life without thinking about anything. Its complete opposite is Gaev, his own brother, who has been overshadowed by his eyes, and he is not capable of committing any meaningful actions. To understand that Gaev is a typical freeloader, it is enough to read the summary of Chekhov's The Cherry Orchard.

The conflict between the old owners and the new ones is resolved in favor of Lopakhin, who in the work is the complete opposite of the old owners, is purposeful and knows perfectly well what he wants from life. He is a descendant of several generations who worked for the Ranevsky landowners. A detailed description of the Lopakhin family, for objective reasons, cannot be included in Chekhov in full, reveals the collision that arose between the characters.

The author, using the example of Lopakhin, demonstrates the true nature of capital. The ability to acquire anything can cripple any person and become his second "I". Despite the fact that Lopakhin has a subtle and sensitive soul, it will become coarser over time, as the merchant in him will win. It is impossible to combine finances and emotions into a single whole, and The Cherry Orchard repeatedly emphasizes this.

Despite the fact that Ranevskaya's tears hurt Lopakhin, and he knows perfectly well that not everything is bought and sold, practicality prevails. However, is it possible to build a completely new life on the remains of a cherry orchard? The land allocated for the construction of dachas has been destroyed. Gone is the beauty and life that once burned in the cherry orchard with a bright flame, to understand this, it is enough to read it is a vivid exponent of the spirit of a bygone era, this is what the play is interesting for.

The author managed to show the total degeneration of the nobility in all its layers, and then its destruction as a social class. At the same time, Chekhov shows that capitalism is not eternal either, since it inevitably leads to destruction. Petya believes that Lopakhin should not hope too much that summer residents can become excellent hosts.

The heroes of the work look into the future in completely different ways. According to Ranevskaya, her life has come to an end, and Anya and Trofimov, on the contrary, are to some extent glad that the garden will be sold, since now they can start living in a new way. The cherry orchard in the work acts as a symbol of the past era, and he must leave along with Ranevskaya and Firs. "The Cherry Orchard" shows Russia at the crossroads of time, which cannot decide where to move on, this can be understood by reading its summary. "The Cherry Orchard" by Chekhov allows the reader not only to get acquainted with the reality of the past years, but also to find a reflection of those principles of life in the modern world.

The Cherry Orchard is a social play by A.P. Chekhov about death and degeneration Russian nobility. It was written by Anton Pavlovich in last years life. Many critics say that it is this drama that expresses the writer's attitude to the past, present and future of Russia.

Initially, the author planned to create a carefree and funny play, where the main driving force action will be the sale of the estate under the hammer. In 1901, in a letter to his wife, he shares his ideas. Previously, he had already raised a similar topic in the drama "Fatherlessness", but he recognized that experience as unsuccessful. Chekhov wanted to experiment, not resurrect plots buried in his desk. The process of impoverishment and degeneration of the nobles passed before his eyes, and he watched, creating and accumulating vital material to create artistic truth.

The history of the creation of The Cherry Orchard began in Taganrog, when the writer's father was forced to sell the family nest for debts. Apparently, Anton Pavlovich experienced something similar to the feelings of Ranevskaya, which is why he so subtly delved into the experiences of seemingly fictional characters. In addition, Chekhov was personally acquainted with the prototype of Gaev - A.S. Kiselev, who also donated the estate in order to improve his shaky financial situation. His situation is one of hundreds. The entire Kharkov province, where the writer had visited more than once, became shallow: the noble nests disappeared. Such a large-scale and controversial process attracted the attention of the playwright: on the one hand, the peasants were freed and received the long-awaited freedom, on the other hand, this reform did not add prosperity to anyone. Such an obvious tragedy could not be ignored, the light comedy conceived by Chekhov did not work out.

The meaning of the name

Since the cherry orchard symbolizes Russia, we can conclude that the author devoted the work to the question of her fate, as Gogol wrote Dead Souls for the sake of the question “Where does the trinity bird fly?”. In fact, this is not about selling the estate, but about what will happen to the country? Will they sell it, will they cut it down for profit? Chekhov, analyzing the situation, understood that the degeneration of the nobility, the supporting class for the monarchy, promises trouble for Russia. If these people, called by their origin to be the core of the state, cannot be held responsible for their actions, then the country will go to the bottom. Such gloomy thoughts lay in wait for the author on the reverse side of the topic he touched upon. It turned out that his heroes were not laughing, just like himself.

The symbolic meaning of the title of the play "The Cherry Orchard" is to convey to the reader the idea of the work - the search for an answer to questions about the fate of Russia. Without this sign, we would perceive comedy as a family drama, a drama from private life, or a parable about the problem of fathers and children. That is, an erroneous, narrow interpretation of what was written would not allow the reader to understand the main thing even after a hundred years: we are all responsible for our garden, regardless of generation, beliefs and social status.

Why did Chekhov call The Cherry Orchard a comedy?

Many researchers really classify it as a comedy, since along with tragic events (the destruction of an entire estate), comic scenes constantly occur in the play. That is, it cannot be unequivocally attributed to a comedy, it is more correct to classify The Cherry Orchard as a tragic farce or tragicomedy, since many researchers attribute Chekhov's dramaturgy to a new phenomenon in the theater of the 20th century - anti-drama. The author himself stood at the origins of this trend, so he did not call himself that. However, the innovation of his work spoke for itself. This writer is now recognized and introduced into school curriculum, and then many of his works remained misunderstood, as they were out of the common rut.

The genre of The Cherry Orchard is difficult to define, because now, given the dramatic revolutionary events that Chekhov did not find, we can say that this play is a tragedy. An entire era dies in it, and hopes for revival are so weak and vague that it’s somehow impossible to even smile in the finale. An open ending, a closed curtain, and only a dull knock on wood is heard in my thoughts. This is the impression of the performance.

main idea

The ideological and thematic meaning of the play "The Cherry Orchard" is that Russia is at a crossroads: it can choose the path to the past, present and future. Chekhov shows the mistakes and failure of the past, the vices and predatory grip of the present, but he still hopes for a happy future, showing the sublime and at the same time independent representatives of the new generation. The past, no matter how beautiful it may be, cannot be returned, the present is too imperfect and miserable to accept, so we must put all our efforts into ensuring that the future lives up to bright expectations. To do this, everyone should try right now, without delay.

The author shows how important the action is, but not the mechanical pursuit of profit, but the spiritualized, meaningful, moral action. It is about him that Pyotr Trofimov speaks, it is him that Anechka wants to see. However, we also see the pernicious legacy of past years in the student - he talks a lot, but did little for his 27 years. Nevertheless, the writer hopes that this age-old slumber will be overcome on a clear and cool morning - tomorrow, where the educated, but at the same time active descendants of the Lopakhins and Ranevskys will come.

Theme of the work

The author used an image that is well known to each of us and understandable to everyone. Many have cherry orchards to this day, and then they were an indispensable attribute of every estate. They bloom in May, beautifully and fragrantly defend the week allotted to them, and then quickly fall off. The nobility, once the backbone of the Russian Empire, mired in debt and endless polemics, fell just as beautifully and suddenly. As a matter of fact, these people were unable to justify the hopes placed on them. Many of them, with their irresponsible attitude to life, only undermined the foundations of Russian statehood. What should have been a centuries-old oak forest was just a cherry orchard: beautiful, but quickly vanished. Cherry fruits, alas, were not worth the place they occupied. This is how the theme of the death of noble nests was revealed in the play "The Cherry Orchard".
The themes of the past, present and future are realized in the work thanks to a multi-level system of images. Each generation symbolizes the time allotted to it. In the images of Ranevskaya and Gaev, the past dies, in the image of Lopakhin the present is in charge, but the future is waiting for its day in the images of Anya and Peter. The natural course of events acquires a human face, the change of generations is shown on concrete examples.
The theme of time also occupies an important place. His power is devastating. Water wears away a stone - and so time erases human laws, destinies and beliefs into powder. Until recently, Ranevskaya could not even think that her former serf would settle in the estate and cut down the garden, which was passed down by Gaev from generation to generation. This unshakable order of the social order collapsed and sunk into oblivion, in its place capital and its market laws hoisted up, in which power was provided by money, and not by position and origin.

Issues

The problem of human happiness in the play "The Cherry Orchard" is manifested in all the fates of the characters. Ranevskaya, for example, experienced many troubles in this garden, but she is happy to return here again. She fills the house with her warmth, remembers her native lands, nostalgic. She is not at all worried about debts, the sale of the estate, the inheritance of her daughter, after all. She is happy with forgotten and re-experienced impressions. But now the house has been sold, the bills have been repaid, and happiness is in no hurry with the advent of a new life. Lopakhin tells her about calmness, but only anxiety grows in her soul. Instead of liberation comes depression. Thus, that for one happiness is misfortune for another, all people understand its essence in different ways, which is why it is so difficult for them to get along together and help each other.
The problem of preserving memory also worries Chekhov. People of the present ruthlessly cut down what was the pride of the province. Noble nests, historically important buildings, perish from inattention, are erased into oblivion. Of course, active businessmen will always find arguments to destroy unprofitable junk, but historical monuments, monuments of culture and art, which the Lopakhins' children will regret, will perish so ingloriously. They will be deprived of ties with the past, the continuity of generations, and will grow up as Ivans who do not remember kinship.
The problem of ecology in the play does not go unnoticed. The author claims not only the historical value of the cherry orchard, but also its natural beauty, its importance for the province. All the inhabitants of the surrounding villages breathed these trees, and their disappearance is a small ecological catastrophy. The area will be orphaned, the gaping lands will become impoverished, but people will fill every patch of inhospitable space. The attitude to nature should be as careful as to a person, otherwise we will all be left without a home that we love so much.
The problem of fathers and children is embodied in the relationship between Ranevskaya and Anechka. You can see the estrangement between family members. The girl regrets the unlucky mother, but she does not want to share her way of life. Lyubov Andreevna indulges the child with gentle nicknames, but cannot understand that in front of her is no longer a child. The woman continues to pretend that she still does not understand anything, so she shamelessly builds her personal life to the detriment of her interests. They are very different, so they do not make any attempts to find a common language.
The problem of love for the motherland, or rather, its absence, is also traced in the work. Gaev, for example, is indifferent to the garden, he cares only about his own comfort. His interests do not rise above consumer ones, so the fate of his home does not bother him. Lopakhin, his opposite, also does not understand Ranevskaya's scrupulousness. However, he does not understand what to do with the garden either. He is guided only by mercantile considerations, profits and calculations are important to him, but not the safety of his home. He clearly expresses only love for money and the process of obtaining it. A generation of children dream of a new garden, they don't need the old one. This is where the problem of indifference comes into play. Nobody needs the Cherry Orchard, except for Ranevskaya, and even she needs memories and the old way of life, where she could do nothing and live happily. Her indifference to people and things is expressed in the scene where she calmly drinks coffee while listening to the news of the death of her nanny.
The problem of loneliness torments every hero. Ranevskaya was abandoned and deceived by her lover, Lopakhin cannot improve relations with Varya, Gaev is an egoist by nature, Peter and Anna are just beginning to get closer, and it is already obvious that they are lost in a world where there is no one to give them a helping hand.
The problem of mercy haunts Ranevskaya: no one can support her, all men not only do not help, but do not spare her. The husband drank himself, the lover left, Lopakhin took away the estate, her brother does not care about her. Against this background, she herself becomes cruel: she forgets Firs in the house, he is nailed inside. In the image of all these troubles lies an inexorable fate that is merciless to people.
The problem of finding the meaning of life. Lopakhin is clearly not satisfied with his meaning of life, which is why he evaluates himself so low. This search only awaits Anna and Peter ahead, but they are already winding, not finding a place for themselves. Ranevskaya and Gaev, with the loss of material wealth and their privileges, are lost and cannot find their bearings again.
The problem of love and selfishness is clearly visible in the contrast of brother and sister: Gaev loves only himself and does not particularly suffer from losses, but Ranevskaya searched for love all her life, but did not find it, and she herself lost it along the way. Only crumbs fell to the lot of Anechka and the cherry orchard. Even a loving person can become selfish after so many years of disappointment.
The problem of moral choice and responsibility concerns, first of all, Lopakhin. He gets Russia, his activities are able to change it. However, he lacks the moral foundations for realizing the importance of his actions for his descendants, realizing the responsibility to them. He lives by the principle: "After us - at least a flood." He does not care what will be, he sees what is.

Symbolism of the play

The garden is the main character in Chekhov's play. It not only symbolizes estate life, but also connects times and epochs. The image of the Cherry Orchard is noble Russia, with the help of which Anton Pavlovich predicted the future of the changes that awaited the country, although he himself could no longer see them. It also expresses the author's attitude to what is happening.

Episodes depict ordinary everyday situations, "little things in life", through which we learn about the main events of the play. Chekhov mixes the tragic and the comic, for example, in the third act Trofimov philosophizes, and then absurdly falls down the stairs. In this one can see a certain symbolism of the author's attitude: he ironically over the characters, casts doubt on the veracity of their words.

The system of images is also symbolic, the meaning of which is described in a separate paragraph.

Composition

The first action is exposure. Everyone is waiting for the arrival of the mistress of the estate Ranevskaya from Paris. In the house, everyone thinks and talks about his own, not listening to others. The disunity, located under the roof, illustrates the discordant Russia, where such dissimilar people live.

The plot - Lyubov Andreeva enters with her daughter, gradually everyone learns that they are threatened with ruin. Neither Gaev nor Ranevskaya (brother and sister) can prevent it. Only Lopakhin knows a tolerable rescue plan: to cut down cherries and build dachas, but the proud owners do not agree with him.

Second action. As the sun sets, the fate of the garden is once again discussed. Ranevskaya arrogantly rejects Lopakhin's help and continues to do nothing in the bliss of her own memories. Gaev and the merchant constantly quarrel.

Third act (culmination): while the old owners of the garden are having a ball, as if nothing had happened, the auction is going on: the former serf Lopakhin acquires the estate.

Fourth act (denouement): Ranevskaya returns to Paris to squander the rest of her savings. After her departure, everyone disperses in all directions. Only the old servant Firs remains in the packed house.

Chekhov's innovation - playwright

It remains to add that the play is not without reason beyond the understanding of many schoolchildren. Many researchers attribute it to the theater of the absurd (what is it?). This is a very complex and controversial phenomenon in modernist literature, the debate about the origin of which continues to this day. The fact is that Chekhov's plays can be classified as a theater of the absurd for a number of reasons. The lines of the heroes very often have no logical connection with each other. They seem to be turned to nowhere, as if they are spoken by one person and at the same time talking to himself. The destruction of dialogue, the failure of communication - this is what the so-called anti-drama is famous for. In addition, the alienation of the personality from the world, its global loneliness and life turned into the past, the problem of happiness - all these are features of the existential problem in the work, which are again inherent in the theater of the absurd. This is where the innovation of Chekhov the playwright in the play The Cherry Orchard manifested itself, and these features attract many researchers in his work. Such a "provocative" phenomenon, misunderstood and condemned public opinion, it is difficult to fully perceive even an adult, not to mention the fact that only a few who were attached to the world of art managed to fall in love with the theater of the absurd.

Image system

Chekhov does not speaking names, like Ostrovsky, Fonvizin, Griboyedov, but there are off-stage characters (for example, a Parisian lover, Yaroslavl aunt) who are important in the play, but Chekhov does not bring them into "external" action. There is no division into good and bad characters in this drama, but there is a multifaceted character system. Actors plays can be divided into:

on the heroes of the past (Ranevskaya, Gaev, Firs). They only know how to waste money and think, not wanting to change anything in their lives.
on the heroes of the present (Lopakhin). Lopakhin is a simple “muzhik” who got rich with the help of labor, bought an estate and is not going to stop.
on the heroes of the future (Trofimov, Anya) - this is the younger generation, dreaming of the highest truth and the highest happiness.

The characters in The Cherry Orchard are constantly jumping from one topic to another. With visible dialogue, they do not hear each other. There are as many as 34 pauses in the play, which are formed between many "unnecessary" statements of the characters. The phrase is repeatedly repeated: “You are still the same”, which makes it clear that the characters do not change, they stand still.

The action of the play "The Cherry Orchard" begins in May, when the fruits of the cherry trees begin to bloom, and ends in October. The conflict does not have a pronounced character. All the main events that decide the future of the heroes take place behind the scenes (for example, the sale of the estate). That is, Chekhov completely abandons the norms of classicism.

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Anya comforts her crying mother: the garden has been sold, but there is a whole life ahead. There will be a new garden, more luxurious than this, "quiet deep joy" awaits them ...

The house is empty. Its inhabitants, having said goodbye to each other, disperse. Lopakhin is going to Kharkov for the winter, Trofimov returns to Moscow, to the university. Lopakhin and Petya exchange barbs. Although Trofimov calls Lopakhin a "predatory beast", necessary "in the sense of metabolism", he still loves in him "a tender, subtle soul." Lopakhin offers Trofimov money for the journey. He refuses: over the "free man", "in the forefront going" to the "higher happiness", no one should have power.

Ranevskaya and Gaev even cheered up after the sale of the cherry orchard. Previously, they were worried, suffering, but now they have calmed down. Ranevskaya is going to live in Paris for the time being on the money sent by her aunt. Anya is inspired: a new life begins - she will finish the gymnasium, she will work, read books, "a new wonderful world" will open before her. Suddenly, out of breath, Simeonov-Pishchik appears and, instead of asking for money, on the contrary, distributes debts. It turned out that the British found white clay on his land.

Konstantin Stanislavsky as Gaev. Production of The Cherry Orchard at the Moscow Art Theatre. 1904

Leonid Leonidov as Lopakhin. Production of The Cherry Orchard at the Moscow Art Theatre. 1904© Album "Plays by A.P. Chekhov". Supplement to the magazine "The Sun of Russia", No. 7, 1914

Alexander Artyom as Firs. Production of The Cherry Orchard at the Moscow Art Theatre. 1904© Album "Plays by A.P. Chekhov". Supplement to the magazine "The Sun of Russia", No. 7, 1914

Vasily Kachalov as Petya Trofimov and Maria Lilina as Anya. Production of The Cherry Orchard at the Moscow Art Theatre, act II. 1904 © Album "Plays by A.P. Chekhov". Supplement to the magazine "The Sun of Russia", No. 7, 1914

Firs: "Let's go... They forgot about me." Production of The Cherry Orchard at the Moscow Art Theatre, act IV. 1904© Album "Plays by A.P. Chekhov". Supplement to the magazine "The Sun of Russia", No. 7, 1914

Cotillion. Production of The Cherry Orchard at the Moscow Art Theatre, act III. 1904© Album "Plays by A.P. Chekhov". Supplement to the magazine "The Sun of Russia", No. 7, 1914

In this very first production of The Cherry Orchard, Chekhov did not like much. The author's differences with Konstantin Stanislavsky, who staged a play written especially for the Moscow Art Theater, concerned the distribution of roles between the performers, the mood and genre (Stanislavsky was convinced that he was staging a tragedy), even the staging, reflecting the naturalistic aesthetics of the early Moscow Art Theatre. “I will write a new play, and it will begin like this: “How wonderful, how quiet! No birds, no dogs, no cuckoos, no owls, no nightingales, no clocks, no bells, and not a single cricket are heard,” Stanislavsky quoted Chekhov’s sarcastic joke about the sound score recreating the estate life. Today, not a single Chekhov biography or history of the Moscow Art Theater bypasses this conflict between the writer and the theater. But the oppressive atmosphere, streams of tears, and everything that frightened Chekhov is at odds with those few surviving fragments of later versions of The Cherry Orchard, a performance that remained in the theater repertoire until the second half of the 1930s and was constantly changing, including thanks to Stanislavsky. For example, with the short final scene with Firs recorded on film: the voice of the lackey performed by Mikhail Tarkhanov sounds in it - despite the situation of the servant forgotten in the house, how hard every movement is given to this decrepit old man, contrary to everything in general - suddenly unusually young. Ranevskaya, sobbing, had just said goodbye to her youth on stage, and she miraculously returned to Firs in these very last minutes.

1954 Renault-Barro Company, Paris. Directed by Jean Louis Barraud

A scene from Jean Louis Barrault's The Cherry Orchard. Paris, 1954© Manuel Litran / Paris Match Archive / Getty Images

Prominent European productions of The Cherry Orchard only began to appear after the war. Theater historians explain this by the extremely strong impression Western directors had of the performance of the Moscow Art Theater, which took Chekhov's play on tour more than once. The Cherry Orchard, staged by Jean Louis Barrault, did not become a breakthrough, but it is a very interesting example of how the European theater, in search of its own Chekhov, slowly emerged from the influence of the Moscow Art Theatre. From the director Barro, who during these years discovered Camus and Kafka for himself and the audience of his theater, and continued to stage his main author, Claudel, one could expect to read Chekhov through the prism of the latest theater. But there is nothing of this in Barro's The Cherry Orchard: listening to the surviving recording of his radio broadcast, you remember about absurdism only when Gaev, in response to Lopakhin's business proposal about arranging dachas on the site of the estate, is indignant: “Absurde!” The Cherry Orchard staged by Renault-Barro Company is first of all (and strictly according to Chekhov) a comedy in which a huge place was given to music. Pierre Boulez, with whom the theater collaborated during these years, was responsible for her in the performance. The role of Ranevskaya was played by Barrot's wife, co-founder of the theater, who earned fame for herself precisely as a comic actress of the Comédie Francaise, Madeleine Renaud. And Barro himself unexpectedly chose the role of Petya Trofimov for himself: perhaps the hero was close to the great mime, who guessed the character of the merchant Lopakhin by his hands - “tender fingers, like those of an artist.”

1974 Teatro Piccolo, Milan. Directed by Giorgio Strehler

Tino Carraro in Giorgio Strehler's The Cherry Orchard

Tino Carraro and Enzo Tarascio in Giorgio Strehler's The Cherry Orchard© Mario De Biasi / Mondadori Portfolio / Getty Images

“Craig wants the set to be as mobile as music, and to help refine certain passages in a play, just as music can follow and emphasize turns in an action. He wants the scenery to change with the play,” the artist René Pio wrote in 1910 after meeting with the English director and set designer Gordon Craig. Luciano Damiani's set design in The Cherry Orchard directed by Giorgio Strehler, thanks to its amazing simplicity, has become perhaps the best example of this way of working with space in the modern theater. Over the snow-white stage was stretched a wide, in the entire depth of the stage, a translucent curtain, which at different moments calmly swayed over the heroes, then dangerously low fell over them, then sprinkled them with dry leaves. The scenery turned into a partner for the actors, and they themselves were reflected in their own way in very few objects on the stage, like children's toys taken from a hundred-year-old cupboard. Ranevskaya's plastic score, played by Strehler's actress Valentina Cortese, was based on rotation, and Gaev's top, launched by Gaev, rhymed with this movement, rotating for a minute and then somehow suddenly flying off its axis.

1981 Bouffe du Nord Theatre, Paris. Directed by Peter Brook

In his lectures on the history of literature, Naum Berkovsky called subtext the language of enemies, and associated its appearance in drama with the changing relationships of people in the early 19th century. In The Cherry Orchard by Peter Brook, the characters have no enemies among each other. The director did not have them in the play either. And the subtext in Chekhov's work suddenly radically changed its quality, ceased to be a method of concealment, but, on the contrary, turned into a means of revealing to each other what cannot be conveyed with the help of words. Played out with little to no scenery (the walls and floor of the old Bouffe du Nord theater in Paris were covered with carpets), this performance was closely associated with post-war literature: “Chekhov writes extremely concisely, using a minimum of words, and his writing style is reminiscent of Pinter or Beckett Brook said in an interview. “For Chekhov, like for them, composition, rhythm, purely theatrical poetry of the only exact word, pronounced then and in the right way, plays a role.” Among the innumerable interpretations of The Cherry Orchard as a drama of the absurd that have arisen to this day, perhaps the most unusual thing about Brook's performance was precisely that, read through Beckett and Pinter, his Chekhov sounded in a new way, but remained himself.

2003 K. S. Stanislavsky International Foundation and Meno Fortas Theatre, Vilnius. Directed by Eymuntas Nyakroshus

The play "The Cherry Orchard" by Eymuntas Nyakroshyus. Golden Mask Festival. Moscow, 2004

Yevgeny Mironov as Lopakhin in the play "The Cherry Orchard" by Eymuntas Nyakroshyus. Golden Mask Festival. Moscow, 2004 © Dmitry Korobeinikov / RIA Novosti

The first thing that the audience saw on the stage was the clothes of the inhabitants of the house thrown at each other, low columns standing behind, two hoops coming from nowhere: it seemed to be a manor, but as if reassembled from almost random objects. In this "Cherry Orchard" there were references to Strehler, but there was no trace of the poetry of the Italian Chekhov performance. However, Nyakroshyus's performance itself was built rather according to the laws of a poetic text. The six hours that he walked, the connections between things, gestures (as always with Nyakroshus, an unusually rich plastic score), sounds (like the unbearably loud cry of swallows) and music, unexpected animal parallels of the characters - these connections multiplied at an extraordinary speed, penetrating all levels . “A gloomy and magnificent bulk,” wrote theater critic Pavel Markov about Meyerhold’s The Inspector General, and this was the impression of the Lithuanian director’s performance, staged together with Moscow artists on the centenary of Chekhov’s
plays.