Malaysia-based online bookstore - 15 million titles - quick local delivery with tracking number
A great Russian novel...in the grand Russian tradition. --Le Figaro
Russian Gothic, a short and intense novel by Belgium-based Belorussian novelist Aleksandr Skorobogatov that, since its initial publication in Russia in 1991, has gone on to sell over a million copies worldwide and hailed as an early masterpiece of post-Soviet literature, eliciting comparisons to Gogol and Bulgakov. Russian Gothic is a dark tale of the descent into paranoia and violence of Nikolai, a veteran of the Soviet-Afghan war. When a mysterious figure, Sergeant Bertrand, appears on his doorstep and starts insinuating that Nikolai's wife, Vera, may be having an affair, Nikolai's faith in his wife, the only person to stand by him after his return to civilian life, starts to crumble--with devastating consequences.Skorobogatov, the author of five critically acclaimed novels, has been published widely in Europe, but Russian Gothic is the first of his works to be translated into English. The UK edition was recently released by Old Street, garnering truly stellar reviews, including in the Telegraph (thoroughly magnificent) and The Sunday Times (riveting). Three decades after it was written, its complex portrait of grief, misogyny, violence--and love--is as fresh, shocking, and relevant as ever.
Dreamchaser relates stories that occurred during two years in the Soviet military and two years in a Soviet prison camp, the GULAG, as a political dissident. Written sometimes in anecdotal form, they provide a window into both the author's life and experiences in the Soviet Union and the feeling of horror for everyday existence there.
The book begins with the harshness of military life, from the bizarre humor of painting living trees to suit a general's color preference to the perils of detonating old mines and explosives left buried during the Second World War, told in the voice of one young sergeant major. From the beginning, it is clear that whenever possible, he followed his own path to chase his dream.
The difficulties of burying a grandmother in a society with so much red tape and prejudice that it seems surreal in its idiocy. The violence and deception that permeated all aspects of the Soviet society also fill these stories. The injustice and waste are illustrated throughout. The KGB is as malevolent and pervasive as the worst Cold War movie ever depicted it. After being sentenced to two years in the Russian GULAG, the author describes the terror of surviving in a prison of about 2,500 criminal inmates. The circumstances of several individual prisoners are described, and together they shed an awful light on some of the darkest parts of life in the USSR. And yet in the midst of the horror, there are also moments of humor and an unwavering belief that someday there would be escape to freedom in the outside world.
Dreamchaser provides a new angle on life in a Communist Bloc country, beyond the imagination or understanding of anyone born in a free society. It ends with a train ride across the border that is filled with heart-stopping moments, bringing the author out of the stone age and into freedom to catch his dream-freedom and pursuit for happiness.
After reading Dreamchaser, you will start counting blessings in your life.
The Cherry Orchard (1903) is Russian playwright and short story writer Anton Chekhov's final play. It was first performed at the Moscow Art Theatre in 1904, directed by acclaimed actor Konstantin Stanislavski-who also played the role of Leonid Gayev, the bizarre and uninspired brother of Madame Ranevskaya. It has since become one of twentieth century theater's most important-and most frequently staged-dramatic works.
After five years of living in Paris with her lover-where she fled following the death of her young son-Madame Ranevskaya is brought back to her Russian estate by her daughter Anya. In her absence, Varya, Ranevskaya's adopted daughter, has cared for the estate to the best of her ability, but the family's debts have forced them to put the house and its renowned cherry orchard up for auction. Leonid Gayev, Madame Ranevskaya's brother, hopes to keep the estate, while Yermolai Lopakhin-a wealthy neighbor despite being born a peasant-encourages the family to sell. Although they initially shelter Madame Ranevskaya, she soon discovers the truth and decides-against the family's wishes-to throw a party none of them can afford. As the play reaches its tragic conclusion, the wealthy are forced to acknowledge their circumstances have changed, and the characters who depend on them for employment must do what they can to survive. The Cherry Orchard is a powerful drama that takes an unsparing appraisal of the massive shift in political and social circumstances undergone by Russians in the early twentieth century.
With a beautifully designed cover and professionally typeset manuscript, this edition of Anton Chekhov's The Cherry Orchard is a classic of Russian literature reimagined for modern readers.
In the heat of summer, Sonya and her Uncle Vanya while away their days on a crumbling estate deep in the countryside, visited occasionally by the only local doctor Astrov.
However, when Sonya's father, Professor Serebryakov, suddenly returns with his restless, alluring, new wife, declaring his intention to sell the house, the polite fa ades crumble and long-repressed feelings start to emerge with devastating consequences.
Olivier Award-winner Conor McPherson's stunning adaptation of Anton Chekhov's masterpiece, Uncle Vanya, is a portrayal of life at the turn of the twentieth century, full of tumultuous frustration, dark humour and hidden passions.
The most widely staged dramatist after Shakespeare, Chekhov left a deep mark both on the development of Russian literature and world theatre, with plays that were remarkable not just for their dialogue but their atmosphere and the tensions expressed between the lines.
Collected in this volume are Chekhov's four most celebrated plays - The Seagull, Uncle Vanya, Three Sisters and The Cherry Orchard - in a brand-new translation by Hugh Aplin. In these personal stories of unfulfilled love, failed ambition and existential ennui, set against a background of unsettling social and economical change, the reader can appreciate the groundbreaking qualities of Chekhov's theatrical genius.
We need the theatre, couldn't, couldn't do without it. Could we?
A successful actress visits her brother's isolated estate far from the city, throwing the frustrated residents unfulfilled ambitions into sharp relief. As her son attempts to impress with a self-penned play, putting much more than his pride at stake, others dream of fame, love and the ability to change their past. Chekhov's darkly comic masterpiece is reignited for the 21st century by one of the most exciting new voices in British Theatre, Anya Reiss, Winner of the Most Promising Playwright at both the Evening Standard and Critics' Circle awards.
Spectacular...This new Vanya has a conversational smoothness that removes the cobwebs sticking to those other translations that never let you forget that the play was written in 1897... One of the most exquisite renderings of Uncle Vanya I've encountered. --Charles McNulty, Los Angeles Times
Quietly arresting... A canny and colloquial world-premiere translation... A beautifully rewarding exploration of stunted lives still bending toward the meager sunlight, like wildflowers sprouting from a cracked sidewalk. --James Hebert, San Diego Union-Tribune
As the sixth play in the TCG Classic Russian Drama Series, Richard Nelson and preeminent translators of Russian literature, Richard Pevear and Larissa Volokhonsky, continue their collaboration with Chekhov's most intimate play.
Other titles in this series include:
The Cherry Orchard by Anton Chekhov
The Inspector by Nikolai Gogol
Moli re, or The Cabal of Hypocrites and Don Quixote by Mikhail Bulgakov
A Month in the Country by Ivan Turgenev
The Seagull by Anton Chekhov
This book sets out to search for the Second World - the (post)socialist context - in dance studies and examines the way it appears and reappears in today's globalized world.
It traces hidden and invisibilized legacies over the span of one century, probing questions that can make viewers, artists, and scholars uncomfortable regarding dance histories, memories, circulations and production modes in and around the (post)socialist world. The contributions delve into a variety of dance practices (folk, traditional, ballet, modern, contemporary), modes of dance production (institutionalization processes, festival-making and market logics), and dance circulations (between centres and peripheries, between different genres and styles). The main focus is Eastern Europe (including Russia) but the book also addresses Cuba and China. The book's historical examples make the reader aware, too, of the (post)socialist bodies' influence in today's dance, including in contemporary dance scenes. The (post)socialist context promises to be a prosperous laboratory to explore uncomfortable questions of legitimacy. Whose choreographic work is staged as a 'quality' dance production? Which dance practices are worthy of scholarly study? What are the limits of dance studies' understanding of what dance is or should be? In view of reclaiming the Second World through dance, this book thus probes questions that should be asked today but are not easy to answer; questions that dance practitioners, facilitators, critics, and researchers, including ourselves, are often not at ease with either. In doing so, the cracks of dance history begin to be sealed, and neglected dance practices are written back into history, provided with the academic recognition that they deserve.
Uncle Vanya (1898) is a four-act play by Russian short story writer and playwright Anton Chekhov. It was first performed at the Moscow Art Theatre in 1899, directed by acclaimed actor Konstantin Stanislavski-who also played the role of Astrov. Reviews were lukewarm at first, but as the play continued to run, Uncle Vanya gained both popularity and critical prowess, and has since become one of the most influential dramas ever produced.
When retired Professor Aleksandr Serebryakov and his young second wife Yelena arrive at their country estate, they disrupt the mundanity and relative boredom of provincial life for its inhabitants. While the elderly Serebryakov enjoys life in the city, Sonya, his daughter, and Vanya, his first wife's brother, remain at the estate to manage its daily upkeep. Vanya, whose only companion is Mikhail Astrov, a doctor dissatisfied with his life and role in the rural community, regrets his failure to become a man of letters, and blames Serebryakov for saddling him with responsibility for the estate. He also loves the beautiful Yelena and wishes he had realized it before she married his brother-in-law. Meanwhile, Sonya secretly loves Astrov, but fears he thinks of her as only a friend. As Serebryakov's decision to sell the estate in order to increase his income is revealed, Vanya-incensed by years of disappointment and disrespect, as well as his by own mother's idolization of the Professor-reaches his breaking point, bringing the play to its startling, powerful conclusion. Uncle Vanya is a masterful drama that illuminates the intersecting obligations of family while dissecting the bitterness and ambition which so often define the relationships of men.
With a beautifully designed cover and professionally typeset manuscript, this edition of Anton Chekhov's Uncle Vanya is a classic of Russian literature reimagined for modern readers.
Zestier and more colloquial than most translations . . . Letts' main achievement here is to make Chekhov more emotional, accessible and active.--Chicago Tribune
I've seen over a dozen Three Sisters, but never has the final scene . . . registered so hard. It's the cumulative effect of . . . searing truth-telling--from Letts, who knows family dysfunction as only the author of August: Osage County can, and Chekhov, the good doctor who diagnoses all our weaknesses that are so strong.--Chicago Theater Beat
When the champion of modern family drama takes on the genre's patriarch, the result is an energetic and vitalizing adaptation of one of Anton Chekhov's most beloved plays. A cruder, gruffer outline of the plight of the wistful Prozorov sisters serves to emphasize the anguish of their Chekhovian stagnation. This latest work from Letts envisions the revered classic through a fresh lens that revives the passionate characters and redoubles the tragic effect of their stunted dreams.
Tracy Letts was awarded the 2008 Pulitzer Prize for Drama and Tony Award for Best Play for August: Osage County. His other plays include Superior Donars; Pulitzer Prize-finalist Man from Nebraska; Killer Joe, which was adapted into a critically acclaimed film; and Bug, which has played in New York, Chicago and London and was adapted into a film. Letts garnered a Tony Award for his performance in the Broadway revival of Who's Afraid of Virginia Woolf?
Pevear and Volokhonsky are at once scrupulous translators and vivid stylists of English.--The New Yorker
There have always been two versions of Chekhov's heartrending and humorous masterwork: the one with which we are all familiar, staged by Konstatine Stanislavski at the Moscow Art Theatre in 1904, and the one Chekhov had originally envisioned. Now, for the first time, both are available and published here in a single volume in translations by the renowned playwright Richard Nelson and Richard Peavar and Larissa Volokhonsky, the foremost contemporary translators of classic Russian literature. Shedding new light on this most revered play, the translators reconstructed the script Chekhov first submitted and all of the changes he made prior to rehearsal. The result is a major event in the publishing of Chekhov's canon.
Richard Nelson's many plays include Rodney's Wife, Goodnight Children Everywhere, Drama Desk-nominated Franny's Way and Some Americans Abroad, Tony Award-nominated Two Shakespearean Actors and James Joyce's The Dead (with Shaun Davey), for which he won a Tony Award for Best Book of a Musical, and the critically acclaimed, searing play cycle, The Apple Family Plays.
Richard Pevear and Larissa Volokhonsky have produced acclaimed translations of Leo Tolstoy, Fyodor Dostoevsky, Nikolai Gogol, Anton Chekhov, and Mikhail Bulgakov. Their translations of The Brothers Karamazov and Anna Karenina won the 1991 and 2002 PEN/Book-of-the-Month Club Translation Prizes. Pevvear, a native of Boston, and Volokhonsjky, of St. Petersburg, are married to each other and live in Paris.
