ABSTRACT
While Anton Chekhov was particularly anxious that the third act should be played ‘quietly’, the action of the fourth act is full of mounting tension. Indeed, unlike his usual practice, it is in the fourth act that Chekhov lets the dramatic action reach the maximum of tension as well as the maximum of audience participation. The first words Irene addresses to Fedotik and Rode give an insight into the future which neither they nor, for that matter, Chekhov could have possibly foreseen, thus ensuring the first prerequisite of audience participation, namely, that they know more of what the future holds for the characters than the characters themselves. Chebutykin is not the only one to be in a good humour: curiously enough, Kulygin, too, does not allow anything to interfere with his ‘contentment’. Left with Chebutykin, Andrey is overcome with panic at being left alone in the house with Natasha.
