ABSTRACT
The pride of Moscow art theatre has always been the mob scene 'on the Yausa' in Tsar Fyodor, the scene in the Forum in Julius Caesar, the scene of the mutiny in Children of the Sun, and the scene-interlude of the guests in Sorrow From Wit. By now, in every theatre that has sprung from the Moscow art theatre, Stanislavski system has been transformed into something different, new, even contrasting. More and more pieces written by Constantin Stanislavski, including letters, notes, comments of various kinds, come to light and being published add to the rich bequest enjoyed by all who are interested in or capable of profiting by his life's work. There is a real basis, when one is speaking of Anton Chekhov, for being reminded of a landscape by Levitan and melodies of Tschaikowsky. All these peculiarities of Chekhov's genius render old methods of interpretation and settings impossible, no matter how excellent they may be in their own way.
