colossus of the age, Lev Tolstoy. The Seagull [Chaika] suffered one of the most disastrous first nights of any of Chekhov's plays when it opened in St Petersburg, in 1896, as a benefit night for a comic actress who had a huge, rowdy, popular following. Chekhov ran out of the theatre after the second act and roamed the streets, swearing never to write for the stage again. Exactly two years later, the fledgling Moscow Arts Theatre, under the guidance of Stanislavsky and Nemerovich-Danchenko, began the first of twenty-six rehearsals of The Seagull. The director, Vladimir Nemirovich-Danchenko, had recognised the potential of Chekhov's innovative dramatic technique and it was his enthusiasm that ensured the first highly successful production of the play. Th e plot of Chekhov's sixteen-page masterpiece is not complicated. A man meets a woman while both are vacationing -- without their spouses -- in the southern resort villa of Yalta
skemaatiline, aluseks kindel vorm. Romantismile omane dianüüsiline alatoon romantikud armastasid mängu, paroodiat, irooniat. Romantism kaldub alati kaose poole, see on nagu vormi eitamine. · Klassitsism ei usaldanud loodust, loodus kehastas kõike stiihilist ja ürgset. Klassitsisim üritas seda stiihiat kammitseda kultuuriga. Romantism ammutas oma jõudu just kõigest looduslikust, stiihilisest, see oli tema energiaallikas. · Racine, Voltaire, Goldoni, Stanislavsky klassitsistlik valgustus. Klassitsistliku teatri arengu liin. · Gozzi, Hoffmann, Meierhold komöödia dell'arte estetiseerimine, omamoodi poeetiline suund. 16) C. Gozzi ja C. Goldoni ,,teatriduell". Saksa romantikud avastasid Carlo Gozzi, kes tõi maailma kaardile tagasi saksa romantikud. Ise ta romantik ei olnud, eluaastad: 1720 1806. Gozzi ja Goldoni duell selle võitluse aluseks commedia dell'arte
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