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Contents • • • • • • • • • • • • • • • Background [ ] Originally entitled The Student, the play was banned by the without being performed. Turgenev changed the title to Two Women. In 1854 it was passed for publication, provided alterations were made — demands made more on moral than political grounds.

To play down the controversy, Turgenev finally settled on the name A Month in the Country. In the introduction to his 1994 English translation, Richard Freeborn wrote: Turgenev's comedy has often been called Chekhovian, even though it preceded 's mature work by more than forty years. The happiest irony surrounding the play's survival is that its ultimate success was due more than anything to the popularity of Chekhov's work and the kind of ensemble playing which [ sic] fostered at the. It was his production in 1909, when he played the role of Rakitin, that finally demonstrated the true brilliance of Turgenev's long-neglected play.

Plot summary [ ] The setting is the Islaev country estate in the 1840s. Natalya Petrovna, a headstrong 29-year-old, is married to Arkadi Islaev, a rich landowner seven years her senior. Bored with life, she welcomes the attentions of Mikhail Rakitin as her devoted but resentful admirer, without ever letting their friendship develop into a love affair. The arrival of the handsome 21-year-old student Aleksei Belyaev as tutor to her son Kolya ends her boredom. Natalya falls in love with Aleksei, but so does her ward Vera, the Islaevs' 17-year-old foster daughter. To rid herself of her rival, Natalya proposes that Vera should marry a rich old neighbour, but the rivalry remains unresolved.

Rakitin struggles with his love for Natalya, and she wrestles with hers for Aleksei, while Vera and Aleksei draw closer. Misunderstandings arise, and when Arkadi begins to have his suspicions, both Rakitin and Aleksei are obliged to leave. As other members of the household drift off to their own worlds, Natalya's life returns to a state of boredom. Characters [ ]. Islayev (Nikolai Massalitinov, left) and his mother Anna (Maria Samarova) surprise his wife Natalya (, centre) and her would-be lover and friend of the family Rakitin (), in Act 3 of the production (1909). • According to Richard Freeborn, in: Turgenev, Ivan. A Month in the Country, Oxford World's Classics (1991), Introduction, p.

• ^ Proscenium Publications programme note for the, Guildford revival (1994) • Richard Freeborn's programme note for the presentation of his English translation, March 1994 • Benedetti (1999, 387). • Worrall (1996, 192). • Worrall (1996, 194). • Worrall (1996, 189).

• Worral (1996, 185). • Turgenev, Ivan (1980). Dramatists Play Service Inc. John Thaxter's review in Richmond and Twickenham Times, 25 February 1994. Archived from on 2015-09-23.

Retrieved 2015-09-23. CS1 maint: Archived copy as title () • at the • at the • • at the • at the • at the • at the • This made-for-television film was filmed in 1967 (Penman, Margaret; Toronto Telegram News Service. February 10, 1968, p.

Also: Cheshire, Ellen. 1 June 2015.), but IMDB lists the first air date as 1977.

• at the • Kavanagh (1996). Archived from (PDF) on 2011-09-01. Retrieved 2011-02-14. CS1 maint: Archived copy as title () • ^ • Sources [ ].

• Benedetti, Jean. Stanislavski: His Life and Art. Revised edition. Original edition published in 1988. London: Methuen. A Month in the Country.

By Ivan Turgenev. London: Penguin. • Kavanagh, Julie. Secret Muses: The Life of Frederick Ashton. London: Faber. • Patterson, Michael, ed. The Oxford Dictionary of Plays.

Oxford: Oxford UP. London Stage in the 20th Century London: Haus. • and its annual Indexes. • Worrall, Nick. The Moscow Art Theatre.

Theatre Production Studies ser. London and NY: Routledge. External links [ ] Wikimedia Commons has media related to. • translated by Constance Garnett • at the.

Turgenev is an author who no longer belongs to Russia only. During the last fifteen years of his life he won for himself the reading public, first in France, then in Germany and America, and finally in England. In his funeral oration the spokesman of the most artistic and critical of European nations, Ernest Renan, hailed him as one of the greatest writers of our times: 'The Master, whose exquisite works have charmed our century, stand more than any other man as the incarnation of the whole race,' because 'a whole world lived in him and spoke through his mouth.'

Rudin is the first of Turgenev's social novels, and is a sort of artistic introduction to those that follow, because it refers to the epoch anterior to that when the present social and political movements began. This epoch is being fast forgotten, and without his novel it would be difficult for us to fully realise it, but it is well worth studying, because we find in it the germ of future growths. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. 'synopsis' may belong to another edition of this title. About the Author: Ivan Sergeyevich Turgenev was born in 1818 in the Province of Orel, and suffered during his childhood from a tyrannical mother.