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  Volume 42, Number 4, Winter 1999

Table of Contents

A Note on the Transliteration of Russian Names, Words, and Titles

p. iv | DOI: 10.1353/mdr.1999.0053


pp. 471-474 | DOI: 10.1353/mdr.1999.0005

Chekhov's Tatyana Repina: From Melodrama to Mystery Play

pp. 475-490 | DOI: 10.1353/mdr.1999.0014

The Seagull: The Stage Mother, the Missing Father, and the Origins of Art

pp. 491-510 | DOI: 10.1353/mdr.1999.0023

"A Subject Worthy of Ayvazovsky's Brush": Vanya's Misdirected Fury

pp. 511-518 | DOI: 10.1353/mdr.1999.0032

Stanislavsky's Production Score for Chekhov's The Cherry Orchard (1904): A Synoptic Overview

pp. 519-540 | DOI: 10.1353/mdr.1999.0041

Center Stage: Chekhov in Russia 100 Years On

pp. 541-564 | DOI: 10.1353/mdr.1999.0050

Chekhov Translated: Shaw's Use of Sound Effects in Heartbreak House

pp. 565-578 | DOI: 10.1353/mdr.1999.0001

The Whole of Italy Is Our Orchard: Strehler's Cherry Orchard

pp. 579-594 | DOI: 10.1353/mdr.1999.0010

Unfinished Pieces: From Platonov to Piano

pp. 595-614 | DOI: 10.1353/mdr.1999.0019

Chekhov in Massachusetts: Competing Modernisms at the American Repertory Theatre

pp. 615-633 | DOI: 10.1353/mdr.1999.0028

Friel's Ballybeggared Version of Chekhov

pp. 634-649 | DOI: 10.1353/mdr.1999.0037


pp. 650-651 | DOI: 10.1353/mdr.1999.0046

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