play twenty three: the seagull

Kristin Scott Thomas as Irena Nikolayevna Arkadina. Perfect.
Kristin Scott Thomas as Irena Nikolayevna Arkadina. Perfect.

Author: Anton Chekhov

Published: 1896

Translator: Elisaveta Fen

Synopsis: Kostia and his sweetheart Nina put on a show for the local families by the lake at his Uncle Sorin’s estate. Kostia is determined to find a new art form and to impress both his histrionic mother, the famous actress Irina Arkadina, and her follower Trigorin, a famous writer. The failure of his work pulls a thread that leads to the gradual unravelling of his life.

What moved me: I’m not sure whether it was because Ivanov was written in a fortnight, or whether it was because Checkhov was 27 and it wasn’t until he was 36 when The Seagull was first produced (I don’t even know if this really does make any difference at all) but the development between these two works is like Polyxena’s shooting star wiped across the sky. Between these two plays irritation has been replaced by devastation. Everything has a purpose. Kostia’s botched suicide attempt is emblematic of every character’s aborted desire and false hope. The way in which the seagull reconnects moments in time across years of turmoil that are lived offstage is painful in its simplicity. And that ending. Fuck.

Also, it is interesting to note what has carried across into this work: the presence of a doctor as a key character, and the presence of Hamlet (Ivanov was sickened by his likeness to him; the players in The Seagull cannot help but quote him) and the work of Gogol as key weaves in the play-fabric.

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