ABSTRACT
In Anton Chekhov’s play The Seagull, which had previously been received cooly by the critics, Vladimir Nemirovich Danchenko saw the various destinies of the creative personality, which resonated with the reality of contemporary Russian life, in the characters of Trigorin, Treplev and Zarechnaya. Anton Chekhov deliberately focuses on a new audience. The New Russia, a petty-bourgeois and heterogeneous mass, eagerly sought out literature about “the little man” – a nondescript figure. The decorative scenery occurs in all of Anton Chekhov’s plays – the authors see the “estate” in The Seagull, Uncle Vanya, The Cherry Orchard and Ivanov; but the estates are as different from each other as the people living and suffering in them. Furthermore, the avenue in Three Sisters could be very different from that in The Seagull. The Anton Chekhov cycle ended with the production of the drama Ivanov.
