ABSTRACT
Revolutionary endeavours are often the result of chance rather than intention and, in many respects, this was the case with the Moscow Art Theatre’s first presentation of The Seagull in 1898. When all the components are considered together, it seems remarkable that the production became such a high point of modern theatre history, especially since the only person with any faith in the project was NemirovichDanchenko. So, what was it about the production that now renders it a fascinating example of Stanislavsky’s theories in practice?
