CRITICISM

Brahms, Caryl. “The Three Sisters.” In Reflections in a Lake: A Study of Chekhov's Four Greatest Plays, pp. 79-107. London: Weidenfeld and Nicolson, 1976.

Traces the critical reception of The Three Sisters.

Bristow, Eugene K. “Circles, Triads, and Parity in The Three Sisters.” In Chekhov's Great Plays: A Critical Anthology, edited by Jean-Pierre Barricelli, pp. 76-95. New York: New York University Press, 1981.

An examination of the groupings of threes in The Three Sisters.

Emeljanov, Victor. “Komisarjevsky Directs Chekhov in London.” Theatre Notebook 37, No. 2 (1983): 66-67.

Discusses a production of The Three Sisters by a noted Russian director.

Gagen, Jean. “‘Most Resembling Unlikeness, and Most Unlike Resemblance’: Beth Henley's Crimes of the Heart and Chekhov's Three Sisters.” Studies in American Drama 1945-Present, No. 4 (1989): 119-28.

Compares Crimes of the Heartand The Three Sisters.

Hahn, Beverly. “Chekhov: The Three Sisters.” The Critical Review No. 15 (1972): 3-22.

Characterizes Chekhov's drama as emotionally spare and artistically intense.

Lucas, F. L. “The Three Sisters.” In The Drama of Chekhov, Synge, Yeats, and Pirandello, pp. 82-96. London: Cassell & Company Ltd., 1963.

A detailed examination of The Three Sisters as a tragedy.

Magarshack, David. “The Three Sisters: Act One.” In The Real Chekhov: An Introduction to Chekhov's Last Plays, pp. 125-26. London: George Allen & Unwin, Ltd., 1972.

Analyzes the stage directions of the first act of The Three Sisters.

Majdalany, Marina. “Natasha Ivanova, the Lonely Bourgeoise.” Modern Drama XXVI, No. 3 (September 1983): 305-09.

Provides a character analysis of Natasha.

Meister, Charles W. “The Three Sisters (1901).” In Chekhov Criticism 1880 through 1986, pp. 245-64. Jefferson, North Carolina: McFarland & Company, 1988.

A history of the critical reception of The Three Sisters.

Oates, Joyce Carol. “Chekhov and the Theater of the Absurd.” In The Edge of Impossibility: Tragic Forms in Literature, pp. 117-37. London: Victor Gollancz Ltd., 1976.

Likens elements of Chekhov's work to those of the playwrights Eugene Ionesco and Samuel Beckett.

Paul, Barbara. “Chekhov's ‘Five Sisters’.” Modern Drama XIV, No. 4 (February 1972): 436-40.

Points to the significance of the five female characters in The Three Sisters.

Rhys, Brinley. “Chekhov.” The Sewanee Review 78, No. 1 (Winter 1970): 163-75.

Analyzes the affirmative elements of The Three Sisters and assesses various translations of the play.

Stroyeva, M. N. “The Three Sisters at the MAT.” In Stanislavski in America: An Anthology from the Tulane Drama Review, edited by Erika Munk, pp. 45-59. New York: Hill and Wang, 1966.

Reviews a performance of The Three Sisters directed by the famous Russian director Konstantin Stanislavski.

Turner, C. J. G. “Time in Chekhov's Tri sestry.” Canadian Slavonic Papers XXVIII, No. 1 (March 1986): 64-79.

Studies the significance of Chekhov's use of time and the limitations it imposes on the drama.

Valency, Maurice. “The Three Sisters.” In Critical Essays on Anton Chekhov, edited by Thomas A. Eekman, pp. 186-92. Boston: G. K. Hall & Co., 1989.

Discusses Chekhov's use of humor and incongruity.

Additional coverage of Chekhov's life and career is contained in the following sources published by the Gale Group: Contemporary Authors, Vols. 104, 124; DISCovering Authors; DISCovering Authors: British; DISCovering Authors: Canadian; DISCovering Authors Modules: Drama, Most-studied Authors; Drama Criticism, Vol. 9; Something about the Author, Vol. 90; Short Story Criticism, Vols. 2, 28; and World Literature Criticism.