Chekhov's Modern Drama

Not only in his narrative, but also in his play, Chekhov is an innovator. These two genres are complementary because in many respects the poetic principles we found in the story-making are also seen in the dramatic dramas. Attempting to recreate everyday life, with its ordinary events; a quest for realism, that is, an objectified author's insight into life. In the drama area, Chekhov creates classical models of the genre: The Seagull, Three Sisters, The Cherry Orchard, Uncle Vanya. In fact, Chekhov is the author of a lot of dramas that have little popularity and almost lost the audience's interest in Wedding, Engagement, and so on.

Chekhov worked over The Seagull almost two years 1895-1896. the main theme he places with this dramatic text is on art, its purpose, its place in human life. Nina Zarechania is one of the main heroines whose words are: I am already a real actress, I play with .... These views are not one-sided, they are also seen through other characters: Nina Zarechnya, Trigorin, Tripleyov. Tryplyov dismisses traditional art and looks for new forms (trying to be an innovator). He tells his modern theater that it is routine and prejudice; believes that no new forms are better and nothing to be. There is no direct evidence that Chekhov stands close to his hero's views. Chekhov does not comment on them and we can count on his silence to. The author does not sympathize with the hero; shows Tripley as a man without common sense; as a person who has no optimistic vision of his life; a person who is experiencing a lot of disappointments in his life and his new quests. He is in love with Nina, but love is unrelated. Its end is the most tragic of suicide. The reader remains convinced that the hero can not cope with his problems, to some extent fail. Obviously Trypilyov is not the hero Chekhov is looking for, and through which he would express himself.

Moment of “Three Sisters”

Trigorin is also a man of art. It is the opposite of Tripley, ie. traditionalist, both in terms of a realistic view of life and of the dramatic form itself. He is a man without great ideals, not to mention aspirations for these ideals. He rather seeks to preserve traditional art and believes that this is his future. Chekhov has shown him as a man with no flame of creativity, and no flame is created; there is no discovery. In indecision and indifference in general can characterize the image of Trigorin. Chekhov shows us how one should create and serve such an art. What Chekhov understands about art can best be understood by Nina's image; it is a program image. Unlike Tripley, who is broken down by life, Nina is a strong woman, and she survives an unrequited love and loss of her child, and other misfortunes. It does not allow it to break and deny art. It makes sense to live through art. Nina perceives art as a high ideal, a supreme goal for the artist, believing that it can also exalt the rest of the people who consume this art. Her understanding is that art serves people that she helps them by doing this and making her happy. Through her image, Chekhov puts another sentiment, namely, making art by serving people requires a lot of patience, hard work and faith. Thus, the image of Nina Zarechaya embodies the artist's views. Eventually the play The Seagull by Chekhov innovator. Comedy Three female roles, 6 males, 4 acts, landscape, many conversations about literature, little action, this is an enumeration, a lack of verb forms, which very much suits the cheek dramaturgy because it lacks action. This lack is compensated by the lyrical subtext. In the ordinary everyday life of heroes almost nothing happens, there are very profound reflections, philosophical summaries. This second sub-texture layer, like a deepwater river, keeps the attention of readers, retains the mind and breath. The subtext is retained by the symbolism, even the title itself. The author turns his eyes to the heroes' deep soul. Lack of action, so there is also no event.