Critical Evaluation

(Critical Survey of Literature for Students)

The Three Sisters, which premiered in January, 1901, is the first play Anton Chekhov wrote specifically for the Moscow Art Theatre. The play was directed by cofounder Konstantin Stanislavsky, the great teacher and originator of a technique of acting, and the cast included Olga Knipper, Chekhov’s future wife, in the role of Masha. Although it was not immediately successful with the critics, The Three Sisters has become the most frequently performed of the Chekhov canon.

Ill with tuberculosis and therefore forced to remain in the warm climate of Yalta, Chekhov instilled much of his own frustration and longing for culture and civilization into the sisters’ dream of returning to Moscow. Olga, Masha, and Irina feel overwhelmed and smothered by the banality of their provincial backwater town. They were educated for a society in which people have an appreciation of language and conversation and perfected a graceful style of living, but that society is fast becoming obsolete. Confused and lacking resources, the sisters search for a fulfilling existence, represented by the dream of returning to Moscow. There, they believe, they can be engaged in activities commensurate with their talents, and life will be meaningful.

The Moscow existence is no more than an idealization of the past, however. Vershinin’s entrance in the first act revivifies the time and environment of their Moscow girlhood, but, as a friend of the sisters’ father, he is a remnant of a past time. The sisters must somehow learn to exist in the changing world of the present. That present is represented by Natasha, who comes from a new middle class and is less educated, less sensitive, and less humane. In fact, she is downright greedy and grasping, one of the few unpleasant characters that Chekhov ever created.

As the skeptical doctor Tchebutykin says, “life is ugly and petty, happiness an illusion, and the only cure for despair is work.” The ideal of work, which in the eyes of Tusenbach and Irina, is the means to fulfillment and the solution to boredom, replaces the dream of Moscow. Irina’s position in the telegraph office is not satisfying, however, and Tusenbach’s management of the brick factory never reaches fruition. The others encounter equal disillusion: Olga’s elevation to headmistress only represents more work, Masha’s love relationship is doomed, and Andrey’s ambitions to become a professor are fantasy....

(The entire section is 999 words.)