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The Seagull impressed the playwright and friend of Chekhov Vladimir Nemirovich-Danchenko, however, who said Chekhov should have won the Griboyedov prize that year for The Seagull instead of himself.Benedetti (1989, 16) and (1999, 59, 74). as Trigorin from the 1898 Moscow Art Theatre production."Elegantly coiffured, clad in evening dress, mournfully contemplating the middle distance with pencil and notepad, suggests someone more intent on resurrecting the dead seagull in deathless prose than plotting the casual seduction of the ardent female by his side." - Worrall (1996, 107).

Nemirovich overcame Chekhov's refusal to allow the play to appear in Moscow and convinced Stanislavski to direct the play for their innovative and newly-founded Moscow Art Theatre in 1898.Benedetti (1999, 73) and (1989, 25). Stanislavski prepared a detailed directorial score, which indicated when the actors should "wipe away dribble, blow their noses, smack their lips, wipe away sweat, or clean their teeth and nails with matchsticks", as well as organising a tight control of the overall mise en scène.Worrall (1996, 109) and Braun (1981, 62-63). This approach was intended to facilitate the unified expression of the inner action that Stanislavski perceived to be hidden beneath the surface of the play in its subtext.Braun (1981, 62-63). Stanislavski's directorial score was published in 1938.Benedetti (1999, 79).

First produced at the Vancouver Playhouse in 1981, the United States premier occurred at the Cincinnati Playhouse in 1996, starring Lynn Redgrave as Madame Arkadina.

For an English translation of Stanislavski's score, see Balukhaty (1952).Stanislavski played Trigorin, while Vsevolod Meyerhold—the future director and practitioner who Stanislavski on his death-bed declared to be "my sole heir in the theatre"—played Konstantin and Olga Knipper (Chekhov's future wife) played Arkadina.Braun (1982, 62) and Benedetti (1999, 79-81). The production opened on 17 December 1898 with a sense of crisis in the air in the theatre; most of the actors were mildly self-tranquilised with Valerian drops.Benedetti (1999, 85, 386). In a letter to Chekhov, one audience member described how:Nemirovich described the applause, which came after a prolonged silence, as bursting from the audience like a dam breaking.Benedetti (199, 86). The production received unanimous praise from the press.It was not until 1 May 1899 that Chekhov saw the production, in a performance without sets but in make-up and costumes at the Paradiz Theatre.Benedetti (1999, 89). He praised the production but was less keen on Stanislavski's own performance; he objected to the "soft, weak-willed tone" in his interpretation (shared by Nemirovich) of Trigorin and entreated Nemirovich to "put some spunk into him or something".Benedetti (1999, 89-90) and Worrall (1996, 108). He proposed that the play be published with Stanislavski's score of the production's mise en scène.Benedetti (1999, 90). Chekhov's collaboration with Stanislavski proved crucial to the creative development of both men.

Throughout the history of Chekhov on the British and American stages we see a version translated, adapted, cobbled together for each new major production, very often by a theatre director with no knowledge of the original, working from a crib prepared by a Russian with no knowledge of the stage.

I am writing it not without pleasure, though I swear fearfully at the conventions of the stage.

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