137

P i n t e r a n d Che khov:
T he B on d of Na t ur a li sm
JOHN
LAHR
We
be gi n
wi t h t he i d e a t ha t n a t ur e i s a ll we
n e e d ;
i t i s
n e ce ssa r y
t o
a cce pt
he r a s she
i s,
wi t hout
mod i f yi n g
he r or
d i mi n i shi n g
he r
i n
a n y r e spe ct ;
she i s
suf f i ci e n t ly
be a ut i f ul
a n d
gr e a t
t o
pr ovi d e
a
be gi n n i n g,
a
mi d d le ,
a n d a n e n d . In st e a d of
i ma gi n i n g
a n a d ve n -
t ur e ,
compli ca t i n g
i t ,
a n d
a r r a n gi n g
a se r i e s
of t he a t r i ca l e f f e ct s t o le a d t o a f i n a l con -
clusi on ,
we
si mply
t a ke f r omli f e t he
st or y
of a
be i n g
or a
gr oup
of
be i n gs
whose a ct s
we
f a i t hf ully
se t d own . T he wor k be come s
a n of f i ci a l
r e cor d ,
n ot hi n g
mor e ;
i t s
on ly
me r i t i s t ha t of e xa ct
obse r va t i on ,
of t he
mor e or le ss
pr of oun d pe n e t r a t i on
of
a n a ly-
si s,
of t he
logi ca l
con ca t e n a t i on of f a ct s ...
"On Na t ur a li smi n t he
T he a t r e ,"
Emi le Zola
(1880)
Na t ur a li smha s i t s r oot s i n a sci e n t i f i c
a ppr oa ch
whi ch me ld s ma n
i n e xt r i ca bly
t o hi s
e n vi r on me n t ,
st ud yi n g
hi m a s a
comple x a ma lga m
of a ud i ble
r hyt hms
a n d
spe c-
t a cula r mut a t i on s f or sur vi va l.
Che khov,
t he
pa ssi on a t e
d oct or ,
a ppli e d
t hi s
d i sci pli n e
t o t he
a i li n g
con ve n t i on a l d r a ma of hi s t i me .
T he d e ma n d i s ma d e t ha t t he he r o a n d he r oi n e should be
d r a ma t i ca lly
e f f e ct i ve .
B ut i n li f e
pe ople
d o n ot shoot t he mse lve s or
ha n g
t he mse lve s,
or f a ll i n
love ,
or
d e li ve r t he mse lve s of cle ve r
sa yi n gs e ve r y
mi n ut e .
T he y spe n d
most of t he i r t i me
e a t i n g, d r i n ki n g, r un n i n g
a f t e r wome n or
me n ,
t a lki n g
n on se n se . It i s t he r e f or e
n e ce ssa r y
t ha t t hi s should be shown on
st a ge .
A
pla y ought
t o be wr i t t e n i n whi ch
pe ople
should come a n d
go,
d i n e ,
t a lk of t he we a t he r or
pla y
ca r d s,
n ot be ca use t he
a ut hor wa n t s i t but be ca use t ha t i s wha t
ha ppe n s
i n r e a l li f e . Li f e on t he
st a ge
should be a s i t
r e a lly
i s,
a n d t he
pe ople ,
t oo,
should be a s
t he y
a r e a n d n ot on
st i lt s.l
Alt hough
Che khov wa s
con si d e r a bly
i n f lue n ce d
by
Zola ,
hi s own
poe t i c ge n i us
could n ot
a cce pt
t he Fr e n chma n 's
d r y book-ke e pi n g
f or t he wor ld . T he sa me
pa s-
si on f or
obje ct i vi t y
a n d cli n i ca l
a n a lysi s
of t he huma n a n i ma l whi ch
gi ve s
Che khov
so much of hi s
st r e n gt h
f e e d s t he wor k of Ha r old
P i n t e r ,
who use s t he con ve n t i on s
of Na t ur a li sm t o
go be yon d
t he m a n d cha r t ma n ki n d 's
e volvi n g
se n se of i t s own
boun d a r i e s.
P i n t e r ,
li ke
Che khov,
ha s a sci e n t i st 's d i st r ust of
si mpli f i ca t i on s.
"I'm
a ga i n st
a ll
pr opa ga n d a ,"
he t old Cha r le s Ma r owi t z i n
1967,
"Eve n
pr opa ga n d a
f or li f e ." Hi s
r e a li smr e f use s t o of f e r br omi d i c
me a n i n gs
or st r a i n e d cohe r e n ce t o
pa lli a t e
f or ce s
be yon d
our
compr e he n si on .
T hi s
un compr omi si n g
a e st he t i c t ook
sha pe
e ve n be -
f or e P i n t e r
be ga n wr i t i n g pla ys. Comme n t i n g
on t he wor k of Sa mue l B e cke t t i n a
le t t e r
(1954),
he sa i d :
. . I d on 't wa n t
phi losophi e s,
t r a ct s,
d ogma s,
cr e e d s,
wa ys
out , t r ut hs, a n swe r s,
n ot hi n g f r om
t he
ba r ga i n
ba se me n t . He
[B e cke t t ] i s t he most
cour a ge ous,
r e mor se -
le ss wr i t e r
goi n g
a n d t he mor e he
gr i n d s my
n ose i n t he shi t t he mor e I a m
gr a t e f ul
t o hi m. He 's n ot
f ucki n g
me
a bout ,
he 's n ot
le a d i n g
me
up a n y ga r d e n ,
he 's n ot
sli ppi n g
me
a n y
wi n k,
he 's n ot
f loggi n g
me a
r e me d y
or a
pa t h
or a r e ve la t i on or
a ba si n f ul of
br e a d cr umbs,
he 's n ot
se lli n g
me
a n yt hi n g
I d on 't wa n t t o
buy,
he
d oe sn 't
gi ve
a bollock whe t he r I
buy
or
n ot ,
he ha sn 't
got
hi s ha n d ove r hi s he a r t .
We ll,
I'll
buy
hi s
good s,
hook,
li n e a n d
si n ke r ,
be ca use he le a ve s n o st on e un t ur n e d
a n d n o
ma ggot lon e ly...
"2
P i n t e r 's
i mpulse
i s f or a
supr a -r e a li sm
whi ch ca n of f e r a vi si on of li f e i n i t s a m-
bi guous e n t i r e t y,
a t he a t r i ca l
hypot he si s
f or a n a ud i e n ce t o
e n t e r t a i n ,
i n whi ch a ll
t he f a ct s a r e
pr e se n t e d
but n e ve r
pr e jud ge d .
Ma n 's d i me n si on s of
con sci ousn e ss,
hi s se n se of a st a ble
posi t i on
i n t he sche me of
t hi n gs,
ha ve
cha n ge d
i n t hi s
ce n t ur y.
Che khov,
f or a ll hi s ha r d -he a d e d
a n a lysi s,
wr ot e
out of a
pa st or a l
t r a d i t i on t o whi ch t he Russi a n
ge n t r y
ha d be come
i n se n si t i ve ,
on e
whose
si gn i f i ca n ce
ha d be e n
put
i n t o
que st i on by
a n e w ur ba n or d e r . T he
st a ge
d i r e ct i on s of T he
Che r r y
Or cha r d
(1903-1904)
a r e
e xpli ci t -
A r oa d le a d s t o
Ga ye v's
e st a t e . On on e si d e a n d some d i st a n ce
a wa y
i s a r ow of
d a r k
popla r s,
a n d i t i s t he r e t ha t t he
che r r y
or cha r d
be gi n s.
Fur t he r
a wa y
i s se e n
a li n e of
t e le gr a ph pole s
a n d
be yon d
t he m,
on t he
hor i zon ,
t he
va gue
out li n e s of a
la r ge
t own ,
vi si ble
on ly
i n
ve r y good ,
cle a r we a t he r ...
Che khov's
lyr i ci sm-a coun t e r poi n t
of
wor d s,
ge st ur e s
a n d soun d -i s
a lwa ys
wi t hi n
t he
la r ge r
ma t r i x of t he
coun t r ysi d e .
P i n t e r 's wor ld on t he ot he r ha n d i s he r me t i -
1Quot e d
i n Da vi d
Ma ga r sha ck,
Che khov t he
Dr a ma t i st ,
(Ne w
Yor k: Hi ll &
Wa n g,
1960),
p.
84.
2
B e cke t t a t
Si xt y,
(Lon d on : Ca ld e r &
B oya r s,
Lt d ., 1967),
p.
86.
3All Che khov
quot e s
a r e t a ke n f r om: Che khov
P la ys,
t r a n sla t e d
by
Eli sa ve t a
Fe n , (P e n -
gui n
B ooks, 1954).
138
JOHN
LAHR
P INT ER AND CHEKHOV
ca lly
se a le d of f f r om n a t ur e . Hi s
pla ys
a r e ur ba n f a ble s i n whi ch n o
popla r s swa y
a ga i n st
t he d i st a n t
or cha r d ,
n o wi n d un d e r scor e s huma n lon e li n e ss. Ma n 's
e a r t hly
ga r d e n ,
li ke t he on e i n T he
Ca r e t a ke r ,
i s clut t e r e d wi t h
li f e le ss,
a li e n
obje ct s.
DAVIES. Looks a bi t t hi ck.
AST ON.
Ove r gr own .
DAVIES. Wha t 's
t ha t ,
a
pon d ?
AST ON. Ye s.
DAVIES. Wha t
you got ,
f i sh?
AST ON. No. T he r e i sn 't
a n yt hi n g
i n t he r e . (P a use .)
DAVIES. Whe r e a r e
you goi n g
t o
put your
she d ?
AST ON, t ur n i n g.
I'll ha ve t o cle a r t he
ga r d e n
f i r st .
DAVIES. You'd n e e d a
t r a ct or ,
ma n .
Whe n P i n t e r i n voke s
Na t ur e ,
i t be come s a
t r a ve st y,
n ot
on ly
of
pa st or a l si mpli ci t y,
but of a ll t hose who would se e k t o r e colle ct i t i n
t r a n qui li t y.
In T he
B i r t hd a y P a r t y,
Gold be r g
t r i e s a n d f a i ls t o ma ke a n i n n oce n t bowe r of Lon d on 's Ea st En d :
Whe n I wa s a
youn gst e r ,
of a
Fr i d a y
I use d t o
go
f or a wa lk d own t he ca n a l wi t h
a
gi r l
who li ve d d own
my
r oa d . A be a ut i f ul
gi r l.
Wha t a voi ce t ha t bi r d ha d ! A
n i ght i n ga le , my
wor d of hon or . Good ? P ur e ? ... We kn e w t he
me a n i n g
of
r e spe ct .
So I'd
gi ve
he r a
pe ck
a n d I'd bowl ba ck home . I'd
t i p my
ha t t o t he
t od d le r s,
I'd
gi ve
a
he lpi n g
ha n d t o a
couple
of
st r a y d ogs, e ve r yt hi n g
ca me n a t ur a l! I ca n
se e i t li ke
ye st e r d a y.
T he sun
f a lli n g
be hi n d t he
d og
st a d i um. Ah!
T hi s
bla r n e y
i s
se n sua l,
pr e ci se ,
a n d va cuous. Na t ur e ha s be come a
cyn i ca l ploy,
a
ma r gi n a l
d i ve r si on ,
a mome n t of ve r ba l
muscle -f le xi n g
whi ch ba lloon s i t t o t he
pr opor t i on s
of
myt h
(a s
i n
He mi n gwa y), subst i t ut i n g
a n un r e a l se lf -con sci ousn e ss
f or Na t ur e 's i n he r e n t
spon t a n e i t y.
In T he
Se a gull,
t he la ke i s a t f i r st hi d d e n
by T r e ple v's
wood e n
st a ge ,
a n
e cli pse
of
n a t ur e
by
a r t
si gn i f i ca n t
f or bot h Che khov a n d hi s
pr ot ot ype
of t he
youn g
a ut hor .
T he
pla y
wi t hi n t he
pla y
i s t he e mbod i me n t of t he r oma n t i c
Egot i st i ca l
Subli me -
a st i llbor n cr e a t i on i f t he r e e ve r wa s on e .
T r e ple v
d e ma n d s a n
or ga n i c,
n a t ur a l ba ck-
gr oun d
f or
some t hi n g cold ly
i n t e lle ct ua l. T hi s con t r a st i s
wr yly
humor ous;
but whe n t he cur t a i n come s
up
on hi s li t t le
pla y,
t he la ke a sse r t s a n un d e n i a ble
powe r .
Che khov's
st a ge
d i r e ct i on s i n d i ca t e t he
pr i mor d i a l
ca lmof t he
ba ckgr oun d :
"T he
cur t a i n
r i se s,
r e ve a li n g
t he vi e w of t he
la ke ,
wi t h t he moon a bove t he hor i zon a n d
i t s r e f le ct i on i n t he wa t e r ." T hi s
se t t i n g
i s
pe r f e ct
f or
T r e ple v's
t he me of cosmi c
d e a t h a n d r e bi r t h. He wi ll cr e a t e a n e w
Ed e n ,
wi t h i t s a n i ma l
d e li ght s
a n d ve r d a n t
pr of usi on t r a n spose d
f r om t he e xt e r n a l wor ld i n t o hi s own mi n d . Ni n a
spe a ks
T r e ple v's
wor d s
a ga i n st
a
ba ckgr oun d
whi ch r e mi n d s t he a ud i e n ce t ha t Na t ur e st i ll
ha s
some t hi n g si gn i f i ca n t
a n d
sust a i n i n g
t o of f e r .
T he
me n ,
t he
li on s,
t he
e a gle s,
t he
pa r t r i d ge s,
t he a n t le r e d
d e e r ,
t he
ge e se ,
t he
spi d e r s,
t he si le n t f i she s of t he
d e e p,
st a r f i she s a n d cr e a t ur e s un se e n t o t he
e ye -i n
shor t a ll
li vi n g t hi n gs,
a ll
li vi n g t hi n gs, ha vi n g comple t e d
t he i r mour n f ul
cycle ,
ha ve
be e n sn uf f e d out . .. In me t he con sci ousn e ss of me n i s
me r ge d
wi t h t he i n st i n ct s
139
JOHN
LAHR
of a n i ma ls: I r e me mbe r
a ll, a ll, a ll,
a n d li ve
e ve r y si n gle
li f e a n e w i n my own be -
i n g.
(I,i )
T hi s
spe e ch
i s r e ca lle d
by
Ni n a i n he r la st
me e t i n g
wi t h
T r e ple v, st i r r i n g
me mor i e s
of a
t ouchi n g yout hf uln e ss
a n d a t a le n t n e ve r
or ga n i ze d by
a
d e e ply-f e lt
vi si on of
t he wor ld .
T r e ple v
ki lls hi mse lf -t he li e of r oma n t i c
e got i sm
n ow
a ppa r e n t
e ve n
t o hi m.
Eve n i f
t he y e sca pe
ult i ma t e
d e st r uct i on ,
t he cha r a ct e r s i n Che khov's
pla ys
t e n d t o
ossi f y
i n t he i r r ur a l
sur r oun d i n gs. Va n ya ,
t he t hr e e
si st e r s,
Ar ka d i n a r e f le ct i n t e lle c-
t ua l
ca pa ci t y
t ur n e d f la cci d : Ast r ov e choe s Che khov's se n t i me n t s:
I love li f e a s such-but our
li f e ,
our
e ve r yd a y pr ovi n ci a l
li f e i n
Russi a ,
I
just
ca n 't
e n d ur e . I
d e spi se
i t wi t h a ll
my
soul. As f or
my
own
li f e ,
God kn ows I ca n f i n d
n ot hi n g good
i n i t a t a ll. You
kn ow,
whe n
you
wa lk
t hr ough
a f or e st on a d a r k
n i ght
a n d
you
se e a sma ll
li ght gle a mi n g
i n t he d i st a n ce
you
d on 't n ot i ce
your
t i r e d n e ss,
n or t he
d a r kn e ss,
n or t he
pr i ckly
br a n che s
la shi n g you
i n t he f a ce ...
(II,i )
In Che khov's
wor ld ,
t he
ble ssi n gs
of n a t ur e a r e
omn i pr e se n t ,
but t he
ma jor i t y
of
ma n ki n d a r e un a ble t o mi r r or t he
pe a ce f uln e ss
a n d
pot e n t i a l gr a ce
whi ch sur r oun d s
t he m. In T he
Che r r y Or cha r d ,
t he
Ra n e vsky f a mi ly
a r e f or ce d f r om t he i r
f a mi ly
e st a t e
by
t he i r own cla ss
pr e t e n si on s. T he y
e xi t t o t he t hud of a xe s
cut t i n g
t he or -
cha r d ,
on ce t he
symbol
of a
luxur i a n t ,
sa f e wor ld a n d n ow a n a ccusa t i on of t he i r
i n d i f f e r e n ce t o t he e n vi r on me n t whi ch on ce sust a i n e d t he m. Eve n t he f i n a l mome n t s
of Un cle
Va n ya
r e i t e r a t e t hi s t e n si on be t we e n t he i n d i vi d ua l a n d n a t ur e . Son i a 's
swe e t ,
va i n
lon gi n gs
a r e f or a n Ed e n whose vi sua l cor r e la t i ve i s out si d e he r d oor .
... We sha ll he a r t he
a n ge ls,
we sha ll se e a ll t he he a ve n s cove r e d wi t h st a r s li ke
d i a mon d s,
we sha ll se e a ll
e a r t hly
e vi l,
a ll of our
suf f e r i n gs swe pt a wa y by
t he
gr a ce
whi ch wi ll f i ll t he whole
wor ld ,
a n d our li f e wi ll be come
pe a ce f ul, ge n t le ,
swe e t
a s a ca r e ss. I be li e ve
i t ,
I be li e ve i t ...
T he wa t chma n 's
t a ppi n g
whi ch f i lls t he si le n ce a f t e r Son i a 's
qui e t ple a d i n g
i s t he
i r on i c Che khovi a n smi le . Son i a a n d
Va n ya
a r e
t r a ppe d ; t he y
ca n n ot
pa r t i ci pa t e
i n
Na t ur e 's
t r a n qui li t y.
T he bor e d om whi ch
pe r va d e s
t he li f e of Che khov's cha r a ct e r s
ha s a
pa lpa ble we i ght ,
a n
a t mosphe r i c pr e ssur e i n d i ca t i n g
t he i r
gr a d ua l
wi t hd r a wa l
f r omt he
sust a i n i n g
e n vi r on me n t . On e
i s,
a f t e r
a ll,
n e ve r bor e d i n n a t ur e a s
lon g
a s
on e ca n
a ppr e ci a t e
i t .
Che khov i s
wr i t i n g,
t he n ,
a t t he br i n k of a
si gn i f i ca n t
shi f t i n ma n 's a t t i t ud e t owa r d
n a t ur e ;
hi s cha r a ct e r s a r e bot h vi ct i ms of i t s i n d i f f e r e n ce a n d wi t n e sse s of i t s
glor y.
T hi s
post -Da r wi n i a n
a mbi va le n ce r e ve r se s f or me r d r a ma t i c con ve n t i on s of t he
pa st or a l. Coun t r y
li f e i n Russi a d oe s n ot
br i n g
t he
e xpe ct e d psychi c
r e le a se t ha t
Ce li a
a n t i ci pa t e s
i n As You Li ke It whe n she
sa ys,
"...Now
go
we i n
con t e n t /
T o
li be r t y
a n d n ot t o ba n i shme n t ." In
Illyr i a
or
Ar d e n ,
cha os i s cha r me d i n t o
or d e r ,
d i sgui se
a n d
mi scon ce pt i on
a r e
ga me s
whi ch ca n be
ha ppi ly pla ye d
out
a pa r t
f r om
t he wor ld . Che khov r e vi se s t he
i d ylli c i ma ge , e voki n g comple xi t y
f r omt he st e r e o-
t ype
of
pa st or a l se cur i t y, cr e a t i n g
a wor ld whi ch of f e r s n o f i xe d
me a n i n g,
but
on ly
f a d i n g
sha d ows of cohe r e n ce .
It i s
si gn i f i ca n t
t ha t
St a n i sla vski ,
un a ble t o
ca pt ur e
t he
st r on g
i n t e r i or
r hyt hms
140
P INT ER AND CHEKHOV
of Che khov or un d e r st a n d t he mome n t um cr e a t e d
by
t he
coun t e r poi n t
be t we e n
si t ua t i on a n d
e n vi r on me n t ,
wa n t e d t o clut t e r t he
pla ys
wi t h r e a l
t hi n gs.
T he e f f e ct
wa s t o
glut
t he
i ma gi n a t i on , blur r i n g
t he ca r e f ul d e li n e a t i on of
obje ct s
a n d soun d s
Che khov ha d i n d i ca t e d i n hi s
st a ge
d i r e ct i on s. St a n i sla vski 's mi se -e n -sce n e f or Un cle
Va n ya
i s i n d i ca t i ve :
T he
pla y
st a r t s i n
d a r kn e ss;
a n
August e ve n i n g.
T he d i m
li ght
of a la n t e r n se t on
t op
of a
post ;
d i st a n t soun d s of a d r un ka r d 's
son g;
d i st a n t
howli n g
of a
d og;
t he
cr oa ki n g
of
f r ogs,
t he
cr y
of a
cor n cr a ke ,
t he slow
t olli n g
of a d i st a n t chur ch
be ll. All t hi s
he lps
t he a ud i e n ce t o
ge t
t he f e e l of t he sa d a n d mon ot on ous li f e of
t he cha r a ct e r s. Fla she s of
li ght n i n g,
f a i n t
r umbli n gs
of t hun d e r i n t he d i st a n ce .
Af t e r t he
r a i si n g
of t he cur t a i n a
pa use
of t e n se con d s. Af t e r t he
pa use ,
Ya kov
kn ocks,
ha mme r i n g
i n a n a i l
(oi 1
t he
st a ge ); ha vi n g
kn ocke d t he n a i l
i n ,
he busi e s
hi mse lf on t he
st a ge , hummi n g
a t un e .'
Che khov's
i mpr e ssi on i st i c t e chn i que
d e ma n d e d a mor e
se le ct i ve ly
f ocuse d
t r ompe
d 'oe i l
e f f e ct ,
whi ch t r i cke d t he a ud i e n ce i n t o
ma ki n g
t he ma t i c a ssoci a t i on s be t we e n
cha r a ct e r s a n d t he
si ght s
a n d soun d s
sur r oun d i n g
t he m. T he
scr i pt
r e a d s
si mply:
"T he sun ha s
just
se t . Ya kov a n d ot he r wor kme n a r e
busy
on t he
st a ge
be hi n d t he
lowe r e d
cur t a i n ;
soun d s of
ha mme r i n g
a n d
coughi n g."
Che khov's ca r e f ul choi ce of
ke y obje ct s,
f r om
T r e ple v's
st uf f e d
se a gull
t o
Va n ya 's
e le ga n t
cr a va t ,
cr e a t e d a
st a ge cr a f t
or i e n t e d t owa r d
d e li ca t e ly
a cce n t ua t e d
t hi n gs
-a
t ype
of t he a t r e f r omwhi ch St a n i sla vski could
ge n e r a li ze
a
t he or y
of
pe r f or mi n g.
As Er i c
B e n t le y
ha s obse r ve d i n In Se a r ch
of T he a t r e ,
t he Che khovi a n me t hod
...r e qui r e s
t wo
e xt r a or d i n a r y gi f t s:
t he
ma st e r y
of
"pe t t y"
r e a li st i c ma t e r i a l a n d
t he
a bi li t y
t o
go be yon d
she e r
Sa chli chke i t -ma t e r i a li t y, f a ct ua li t y-t o i ma gi n a t i on
a n d
t hought ...
Now,
t he whole St a n i sla vski school of
a ct i n g
a n d
d i r e ct i n g
i s
t e st i mon y
t ha t Che khov wa s
succe ssf ully
sa chli ch-t ha t
i s,
n ot
on ly
a ccur a t e ,
but
si gn i f i ca n t ly pr e ci se ,
con cr e t e ,
i r on i c. . . T he a r t
by
whi ch a
spe ci a l i mpor t a n ce
i s
i mpa r t e d
t o
e ve r yd a y
obje ct s
i s f a mi li a r
e n ough
i n
f i ct i on ;
on
st a ge ,
Che khov i s on e
of i t s f e w ma st e r s. . .
(p.
333)
T he
br e a ki n g st r i n g,
n o ma t t e r how n on -n a t ur a li st i c a
soun d ,
ha s a huma n f ocus a n d
pe r t i n e n ce ;
t he
shi mme r i n g
la ke
(T he Se a gull),
t he or cha r d f le cke d wi t h
Ma y
mor n -
i n g
f r ost
(T he Che r r y Or cha r d )
st i ll
uphold
ma n a s t he me a sur e of hi s e n vi r on -
me n t ,
i mplyi n g
a ki n d of
pr opor t i on
t o
r e a li t y
whi ch le n d s
huma n i t y
t o
obje ct s
cle a r ly
n on -huma n . In
con t r a st ,
t he
obje ct
wor ld i n P i n t e r i s n e ve r so
ce r t a i n ;
i t
of f e r s n o soun d s of
ge n e r a l
d i scor d a n d comme n t -li ke t he
br e a ki n g st r i n g.
Na t ur e
he r e a llows n o
sola ce ;
t he
obje ct s
cr owd wi t h t ot a l i n d i f f e r e n ce a r oun d P i n t e r 's
cha r a ct e r s li ke t he che st of d r a we r s i n Ast on 's r oom. Hi s cha r a ct e r s
r e pr e se n t
a mod -
e r n con sci ousn e ss
wholly
a bst r a ct e d f r om i t s e n vi r on me n t . T he
la n gua ge , pr e ci se
a n d
se n sua l,
t a n t a li ze s our se n se of t he
r e a l,
on ly
t o
d i sa ppe a r
i n t o t he
d yn a mi cs
of
t he
mome n t a r y
si t ua t i on . Ma x r e ca lls a
pr e se n t
t o hi s wi f e i n T he
Home comi n g:
... I sa i d t o
he r , Je ssi e ,
I t hi n k our
shi p
i s
goi n g
t o come home , I'm
goi n g
t o t r e a t
you
t o a
couple
of
i t e ms,
I'm
goi n g
t o
buy you
a d r e ss i n
pa le
cor d e d blue si lk
he a vi ly
e n cr ust e d i n
pe a r ls,
a n d f or ca sua l
we a r ,
a
pa i r
of
pa n t a loon s
i n li la c t a f f e t a . T he n ,
I
ga ve
he r a
d r op
of
che r r y br a n d y.
La n gua ge ,
howe ve r ,
ca n n ot i sola t e t he
pa st ,
a n d n e i t he r ca n
me mor y.
Che khov
'Da vi d
Ma ga r sha ck,
St a n i sla vsky:
a
Li f e ,
(Cha un t i cle e r P r e ss, 1937),
p.
172.
141
hi n t s a t t hi s i n T he T hr e e Si st e r s.
Olga 's
f i r st wor d s show t he li mi t a t i on s of t he
huma n
i ma gi n a t i on , t r yi n g
t o con t r ol f a ct s whi ch a r e i r r e t r i e va ble : "It 's
e xa ct ly
a
ye a r a go
Fa t he r
d i e d ,
i sn 't i t ?" T he
f i n a li t y
of t he st a t e me n t i s mocke d
by
t he
r he t or i ca l
que st i on .
In t he sa me
wa y,
Ma x's chi ld hood i s n e ve r a s cle a r a s hi s me m-
or y ur ge s
i t t o be .
Our f a t he r ? I r e me mbe r hi m. Don 't
wor r y.
You ki d
your se lf .
He use d t o come
ove r t o me a n d look d own a t me .
My
old ma n d i d . He 'd be n d
r i ght
ove r
me ,
t he n
he 'd
pi ck
me
up.
I wa s
on ly
t ha t
bi g.
T he n he 'd d a n d le me . Gi ve me t he bot t le .
Wi pe
me cle a n . Gi ve me a smi le . P a t me on t he bum. P a ss me
a r oun d ,
pa ss
me f r om
ha n d t o ha n d . T oss me
up
i n t he a i r . Ca t ch me
comi n g
d own . I r e me mbe r
my
f a t he r .
T he
la n gua ge
se e ms
sha r ply pa r t i cula r ,
but be hi n d Ma x's f e r oci ous
ce r t a i n t y
i s a
wor ld of un d i f f e r e n t i a t e d
(pe r ha ps
f a lse )
sha d ows. He d oe sn 't r e me mbe r
a n y-
t hi n g.
P i n t e r i s obse sse d
by
t he
a r bi t r a r y
boun d a r i e s ma n ma ke s f or hi mse lf : t he wa lls
con st r uct e d of
con cr e t e ,
of
la n gua ge ,
of
phi losophy,
whi ch
pr ot e ct
hi m f r om a
pr ot e a n r e a li t y
a n d
gi ve
hi ma cha n ce . In on e of hi s
e a r ly pla ys,
T he
Dwa r f s,
P i n t e r
st a t e s wha t he la t e r showe d :
T he r ooms we li ve i n ...
ope n
a n d shut ... Ca n 't
you
se e ?
T he y cha n ge sha pe
a t
t he i r own wi ll. I could n 't
gr umble
i f
on ly t he y
would
ke e p
t o some
con si st e n cy.
B ut
t he y
d on 't . An d I ca n 't t e ll t he
li mi t s,
t he boun d a r i e s whi ch I've be e n le d t o
be li e ve a r e n a t ur a l...
In T he
B i r t hd a y P a r t y,
t he house whi ch ha s
pr ot e ct e d St a n le y
i s t ur n e d i n t o a me n a c-
i n g jun gle .
P i n t e r 's
a t t e mpt s
t o t r a n sf or m t he r oom a r e cr ud e but e f f e ct i ve . He
t hr ows t he se t i n t o d a r kn e ss
d ur i n g
a
ga me
of bli n d ma n 's
buf f ,
wi t h t he
pur sue r s'
f la shli ght s sca n n i n g
t he r oom. T he
soli d i t y e va por a t e s. Obje ct s
be come ma ssi ve
spe ct r e s
i n t he
d a r k,
t hr e a t e n i n g
t o ove r whe lm t he
compa n y.
T he
li ght
shi n e s on
t he m,
a ssur i n g
us t ha t
t he y
e xi st ,
but t he
obje ct s
se e mle ss t ha n r e a l. T he wa lls
pr o-
t e ct i n g St a n le y
n ow i n ca r ce r a t e
hi m,
a s
Gold be r g
a n d McCa n n f or ce a
f la shli ght
i n t o hi s f a ce un t i l hi s
soli d i t y
a n d r e a son
va por i ze .
Whe n
St a n le y
i s t a ke n
a wa y,
t he r oom come s ba ck t o
"n or ma l,"
on ly
t o
e xpa n d a ga i n
i n t o
un ce r t a i n t y
wi t h t he
f i n a l
d i a logue -
MEG. I wa s t he be lle of t he ba ll.
P ET EY. We r e
you?
MEG.
Oh,
i t 's t r ue ... I wa s... I kn ow I wa s.
It i s i n T he
Home comi n g
t ha t P i n t e r i s a ble t o a chi e ve hi s most subt le
i n t e r pla y
of
n a t ur a li st i c f a ct a n d a
d i st ur bi n g
f lui d
r e a li t y.
Ma x's
li vi n g
r oomse e ms a s
logi ca l
a s
t he huma n si t ua t i on wi t hi n i t se e ms
i mpr oba ble .
T he
st a ge
ha s be e n
st r i ppe d
of e x-
ce ss,
la cki n g
t he
jumble d
a n d
cla ust r ophobi c qua li t i e s
of T he Ca r e t a ke r or t he n on -
cha la n t un t i d i n e ss of t he se a si d e
boa r d i n g
house whe r e T he
B i r t hd a y P a r t y
t a ke s
pla ce .
A ma mmot h
a r ch, cha i r s, t a ble s,
t he ba ck wa ll br oke n
t hr ough
t o
e xpose
a
lon g
st a i r ca se . T he
pr of e ssor -son
ma ke s sur e
we ,
a s we ll a s hi s wi f e
Rut h,
r e a li ze t hi s
i s a con t r olle d e n vi r on me n t .
Wha t d o
you
t hi n k of t he r oom?
B i g
i sn 't i t ? It 's a
bi g
house . I
me a n ,
i t 's a f i n e
142
JOHN
LAHR
P INT ER AND CHEKHOV
r oom,
d on 't
you
t hi n k?
Act ua lly
t he r e wa s a
wa ll,
a cr oss t he r e ... wi t h a d oor . We
kn ocke d i t
d own ...ye a r s a go
... t o ma ke a n
ope n li vi n g
a r e a . T he st r uct ur e
wa sn 't a f f e ct e d
you
se e ...
T he r oom se e ms ce r t a i n t o t he
e ye ,
f i lle d wi t h a
st e e l-gr a y li ght
a s soli d a n d r e -
a ssur i n g
a s a Ve r me e r
pa i n t i n g.
It i s
i mme d i a t e ly r e cogn i za ble ;
t he
obje ct s
coa x t he
a ud i e n ce i n t o a comf or t a ble
a cce pt a n ce .
T he a ud i e n ce a ssume s t ha t t he sur r oun d -
i n gs
d e scr i be t he cha r a ct e r s on
st a ge .
B ut t he i r
r e spon se
i s
be t r a ye d ;
t he a ct i on un -
cove r s e lusi ve t r ut hs of se xua l
f a n t a sy,
lust ,
a n d
i mpot e n ce .
As t he
pla y ga t he r s
mome n t um,
t he a ud i e n ce d i scove r s-wi t hout P i n t e r
f or ci n g
i t -t ha t t he r oom ha s
lost i t s
a ppa r e n t soli d i t y.
T he
st a i r wa y,
cove r e d
by
t ha t mon ume n t a l
a r ch,
t a ke s on
a n
un n a t ur a l, se d uct i ve ,
pha lli c le n gt h-a n
a lmost se xua l
pot e n cy.
Whe r e a s St a n i sla vski
d e ve lope d
t he i llusi on i st i c "f our t h wa ll" t o
gi ve
T he
Se a gull
t he shock of
r e a li t y,
P i n t e r
pushe s a ga i n st
n a t ur a li st i c
st a ge
con ve n t i on s f or hi s
t he a t r i ca l
sur pr i se s.
Sa m,
Ma x's
a gi n g
br ot he r ,
pa sse s
out ,
pr ocla i mi n g
i n hi s la st
br e a t h t ha t Ma x's d e ce a se d wi f e commi t t e d
a d ult e r y
i n t he ba ck se a t of hi s ca b
whi le he d r ove . A
plot -poi n t
i s
wr a ppe d up; some t hi n g
i s
e xpla i n e d .
B ut T he
Home comi n g
i s n ot a
pla y
i n whi ch t he d e a d a r e ca r t e d of f . T he
d i a logue
i s P i n t e r a t
hi s
be st ,
mocki n g
t he "r e a li st i c" d e ma n d s of a t he a t r e whi ch hi d e s ma n 's most i n -
se n si t i ve i n st i n ct s.
MAX. Wha t 's he d on e ?
Dr oppe d
d e a d .
LENNY. Ye s.
MAX. A
cor pse
on
my
f loor . Cle a r hi mout of he r e .
JOEY
be n d s ove r SAM
JOEY.
He 's n ot d e a d .
LENNY. He 's
pr oba bly
d e a d ,
f or a bout 30 se con d s.
MAX. He 's n ot e ve n d e a d .
T he a ct i on
goe s
on a r oun d t he
bod y.
No bla ckout s. No f i n e se n t i me n t .
P e ople
f a i n t
i n
subwa ys
or
d i e ,
ot he r
pe ople pa ss
t he m
by
or
gi ve
t he ma
n ud ge
of t he boot t o
ma ke sur e
t he y'r e
st i ll
br e a t hi n g.
P i n t e r le t s
r e a li t y
comme n t on
i t se lf ,
n e ve r
poi n t -
i n g
a
f i n ge r .
In Che khov's
wor ld ,
t he
la n gua ge
comme n t s on a n e n vi r on me n t whi ch d e ma n d s
a n swe r s,
r e solve d ca r e e r s. In a ll hi s
pla ys,
t he r e a r e voi ce s t ha t
spe a k
of
ha ppi n e ss,
t ha t
ye a r n
f or a be t t e r wor ld . Eve n i f t he se
goa ls
e lud e
t he m,
t he i r mod e of
t hi n ki n g
a bout Na t ur e a n d Ma n r e ma i n s
con st r uct i ve ly a n t hr opomor phi c:
B ut our
suf f e r i n gs ma y
me a n
ha ppi n e ss
f or t he
pe ople
who come a f t e r us...
T he r e 'll be a t i me whe n
pe a ce
a n d
ha ppi n e ss r e i gn
i n t he
wor ld ,
a n d t he n we sha ll
be r e me mbe r e d
ki n d ly
a n d ble sse d ...
Olga ,
li ke he r
si st e r s,
wa i t s f or a
si gn
f r om n a t ur e
("...Ma ybe
i f we wa i t a li t t le
lon ge r
we sha ll f i n d out
why
we
li ve ,
why
we
suf f e r ...").
Che khov's own
ske pt i -
ci smd e ma n d e d bot h a wor ld -vi e w a n d
hope .
T he be st [cla ssi ca l wr i t e r s] a r e r e a li st s a n d
d e pi ct
li f e a s i t
i s,
be ca use
e ve r y
li n e i s
pe r me a t e d ,
a s wi t h a
jui ce ,
by
a
con spi cuousn e ss
of a n
a i m;
you
f e e l i n a d d i t i on
t o li f e a s i t i s li f e a s i t should be ... B ut wha t a bout us? We
d e pi ct
li f e a s i t i s but
143
we r e f use t o
go
a
st e p
f ur t he r . We ha ve n e i t he r n e a r n or r e mot e a i ms a n d our souls
a r e a s f la t a n d ba r e a s a bi lli a r d t a ble . We ha ve n o
poli t i cs,
we d o n ot be li e ve i n
r e volut i on ,
we
d e n y
t he e xi st e n ce of
God ,
we a r e n ot a f r a i d of
ghost s...
B ut he
who wa n t s
n ot hi n g, hope s
f or
n ot hi n g,
a n d f e a r s
n ot hi n g
ca n n ot be a n a r t i st .6
Che khov chr on i cle s a n e xi st e n t i a l
st a le ma t e ,
a
pr oble ma t i c
con d i t i on r a t he r t ha n a
pr opose d
a n swe r . Ye t t he r e st i ll r e ma i n s t he
comf or t i n g soli d i t y
of
posse ssi on s.
Eve n
t hough Lyuba Ra n e vsky
lose s he r
e st a t e ,
t he a ud i e n ce un d e r st a n d s whe n she
sa ys,
"...
My
d e a r bookca se !
(Ki sse s bookca se ).
My
own li t t le t a ble !" Whi le
sym-
bols of t e n
e me r ge
out of t he
d yn a mi cs
of Che khov's d r a ma t i c si t ua t i on s
(Solyon y's
ha n d s i n T he T hr e e
Si st e r s,
t he st uf f e d
se a gull,
e t c.),
t he r e i s a
logi c
i n t he i r use
whi ch,
whi le
a t t e st i n g
t o t he r a n d omn e ss of
e xpe r i e n ce ,
con f e sse s a
comf or t i n g
se n se of a r t i st i c or d e r . T he
obje ct
wor ld of Che khov's
pla ys
n e ve r
i mpose s
i t se lf on
t he
e xpe r i e n ce
of t he cha r a ct e r s a s much a s on t he i r
i ma gi n a t i on .
In
P i n t e r ,
obje ct s
a n d
ge st ur e s
t a ke on a
physi ca l pot e n cy
whi ch i llust r a t e s a mut e i sola t i on be t we e n
Ma n a n d
obje ct .
Ma x
swi n gs
hi s ca n e wi t h a
me mor y
of se xua l
st r e n gt h.
Rut h
we a ve s a mosa i c of se n sua l
i n n ue n d o,
t ur n i n g
a
gla ss
of wa t e r i n t o a
t hr obbi n g
or ga n :
RUT H. Ha ve a
si p.
Go on . Ha ve a
si p
f r om
my gla ss.
He i s st i ll. Si t on
my la p.
T a ke a
lon g
cool
si p.
She
pa t s
he r
la p.
P a use . She
st a n d s,
move s t o hi mwi t h t he
gla ss.
P ut
your
he a d ba ck a n d
ope n your
mout h.
LENNY. T a ke t ha t
gla ss a wa y
f r omme .
RUT H. Li e on t he f loor . Go on . I'll
pour
i t d own
your
t hr oa t .
LENNY. Wha t a r e
you d oi n g, ma ki n g
me some ki n d of
pr oposa l.
Le n n y
ha s t r i e d t o ove r whe lm he r wi t h t a le s of vi ole n ce a n d se xua l
con que st .
Rut h,
howe ve r ,
by t ur n i n g
a n
obje ct
i n t o a
t hr e a t e n i n g
i n vi t a t i on ,
mocks our f a i t h i n t he
n e ut r a li t y
of ma t e r i a l
t hi n gs.
She
of f e r s,
on e
mi ght sa y,
a n
obje ct
le sson on t he
li mi t a t i on s of Ma n 's
se n sor y pe r ce pt i on .
Look a t me . I... move
my le g.
T ha t 's a ll i t i s. B ut I we a r ... un d e r we a r ... whi ch
move s wi t h me ... i t ...
ca pt ur e s your
a t t e n t i on .
P e r ha ps you mi si n t e r pr e t .
T he a c-
t i on i s
si mple .
It 's a
le g... movi n g. My li ps
move .
Why
d on 't
you
r e st r i ct ... your
obse r va t i on s t o t ha t ?
P e r ha ps
t he f a ct t ha t
t he y
move i s mor e
si gn i f i ca n t ...
t ha n
t he wor d s whi ch come
t hr ough
t he m. You must be a r
t ha t ...possi bi li t y...
i n
mi n d .
P i n t e r 's cha r a ct e r s n o
lon ge r cli n g
t o a wi st f ul f a i t h i n cosmi c cohe r e n ce .
T he y
ha ve be e n
pe r ma n e n t ly
cut a d r i f t f r om t he i r
sur r oun d i n gs. T he y
d o n ot
spe a k
of
Hope
or
Ha ppi n e ss; t he y si mply
wa n t t o sur vi ve f r ommome n t t o mome n t . Whe r e
Che khov
e xplor e d
t he subst a n ce of ma n 's li f e
e r od i n g t hr ough
t i me ,
P i n t e r d oe s
some t hi n g
e lse wi t h t ha t d i me n si on . All of Che khov's cha r a ct e r s come f r om a
d e f i n a ble
pa st ,
a n d t he i r
f ut ur e s,
n o ma t t e r how
ble a k,
ca n be cha r t e d . Ir e n a wi ll
t e a ch;
Ni n a wi ll a ct i n t he
pr ovi n ce s;
Ga e v wi ll t a ke a
job
a s a ba n k cle r k. T he
la n gua ge
of Che khov's
pla ys
a t t he i r most
poi gn a n t
mome n t s i s
he i ght e n e d by
t he
f ut ur e
t e n se ,
by
wha t wi ll be .
Fut ur i t y,
li ke t he
"pa t he t i c f a lla cy"
of
se e i n g
n a t ur e
r e spon d i n g
t o
ma n ,
i mpli e s
a
r e la t i on shi p
t o t he
wor ld ,
a
chr on ologi ca l
or d e r ,
a
5Da vi d
Ma ga r sha ck,
Che khov t he
Dr a ma t i st ,
(Ne w
Yor k: Hi ll &
Wa n g,
1960),
pp.
40-41.
144
JOHN
LAHR
P INT ER AND CHEKHOV
se n se of t he mi n d 's
e volut i on a r y d e ve lopme n t .
P i n t e r
e mploys
n o f ut ur e t e n se s.
Hi s
la n gua ge
shows
me mor y
a t r a ct a ble
t ool,
d e ce i vi n g
wi t h se d uct i ve
cla r i t y.
Me mor y
hold s n o sa lva t i on a n d n o va lue . Ma n ca n
on ly
li ve i n a n
a n xi ous,
pr o-
t r a ct e d
pr e se n t .
All P i n t e r 's d r a ma t i c d e vi ce s
(t he
st yli ze d spe e ch,
t he
we i ght e d
si le n ce s,
t he ca r e -
f ul
gr oupi n gs) e n compa ss
t he d i ct a of Na t ha li e Sa r r a ut e a n d t he "n e w n ove l"
whi ch
se e ks,
li ke P i n t e r 's
st a ge
n a t ur a li sm,
t o
a d a pt
t o a mod e r n e n vi r on me n t . Hi s
d r a ma move s whe r e t he n ove l
(f or he r )
must a lso
go:
"... some
pr e ci se
d r a ma t i c
a ct i on shown i n slow mot i on ...
[whe r e ]
t i me wa s n o
lon ge r
t he t i me of r e a l
li f e ,
but of a
huge ly a mpli f i e d pr e se n t ...
"6
P i n t e r f i n d s t he
la n gua ge
of musi c t he e a si e st
wa y
t o d e scr i be hi s own un d e r st a n d -
i n g
of hi s
pla ys.
Li ke
Che khov,
he or che st r a t e s a n e la bor a t e
composi t i on
of
ge st ur e s,
wor d s,
a n d
pa use s
wi t hi n t he f le xi ble un i t of t he r oom. Che khov ha d
a lr e a d y
use d
t he
pa use
wi t h
movi n g
d r a ma t i c a n d
psychologi ca l i n si ght . Lyuba
a n d Ga e v's la st
mome n t be f or e
le a vi n g
t he e st a t e i s ma d e mor e
t ouchi n g by be i n g be yon d
wor d s.
If P i n t e r 's
pla ys
se e mt o la ck t he r i ch
t on a li t y
of Che khov's
wor ks,
i t i s
be ca use ,
i n
hi s
vi e w, Na t ur e
gi ve s
us ba ck n o
i ma ge
of our se lve s a n d
wor d s,
n o ma t t e r how se n -
suous,
a r e
f i n a lly i mpr e ci se .
T he a ct or wor ks i n a
sma lle r ,
mor e
t i ght ly
con -
t r olle d a r e a of
i mpr ovi sa t i on .
P i n t e r t old me i n 1967:
I a m
ve r y
con sci ous of
r hyt hm.
It 's
got
t o
ha ppe n "Sn a p. Sn a p"-just
li ke t ha t or
i t 's
wr on g.
I'ma lso i n t e r e st e d i n
pi t ch...
I r e me mbe r whe n we d i d T he Colle ct i on
on
Of f -B r oa d wa y
a f e w
ye a r s a go,
t he r e wa s a n Ame r i ca n a ct or who wa s i n
bi g
t r ouble wi t h hi s
pa r t .
I t old hi mi n st e a d of
t r yi n g
t o f i n d r e a son s f or hi s cha r a ct e r -
i za t i on ,
"Why
d on 't
you
r e a d t he
pa r t
a n d
pa y
a t t e n t i on t o t he st r e ss of t he
wor d s." He d i d
i t ,
a n d he wa s f i n e . T he
poi n t
i s t he st r e sse s t e ll
you
wha t t he
me a n i n g
i s.
Sa yi n g
i t
up
or d own ca n
cha n ge
t he whole
me a n i n g.
It ha s t o be
just
r i ght .
Si le n ce be come s a mor e a ct i ve f a ct or i n mod e r n
li f e ;
t he
pa st
ha s blur r e d a n d t he
f ut ur e i s un kn owa ble . P i n t e r 's
pla ys
e xhi bi t a bold vi r t ue i n
ut i li zi n g
t hi s
si le n ce ,
whi ch Che khov's Na t ur a li smcould
on ly va gue ly a ppr e he n d .
It i s a r e a li st i c
d e vi ce ,
a s
we ll a s a cosmi c i n d i f f e r e n ce . As
Ge or ge
St e i n e r ha s
poi n t e d
out i n
La n gua ge
a n d
Si le n ce : "...
[whe n ]
la n gua ge si mply
ce a se s,
a n d t he mot i on of t he
spi r i t gi ve s
n o
f ur t he r out wa r d ma n i f e st a t i on s of i t s
be i n g,
t he
poe t
e n t e r s i n t o si le n ce . He r e t he
wor d bor d e r s n ot on r a d i a n ce or
musi c,
but on
n i ght ."
P i n t e r ,
li ke
Che khov,
un cove r s a subt e r r a n e a n musi c. T he d i f f e r e n ce i n t he i r t e ch-
n i que s
r e f le ct s t he d i f f e r e n ce i n
e volvi n g
r e a li st i c
a ppr a i sa ls
of t he wor ld . If P i n t e r 's
wor ld se e ms a
sma lle r ,
gr a ye r
ca n va s,
i t i s n ot a li mi t a t i on of
cr a f t ,
but of t he mod -
e r n wor ld -whi ch le a ve s Ma n wi t h le ss f a i t h i n hi s
mi n d ,
mor e f e a r f ul of t he d e -
huma n i zi n g
f or ce s out si d e i t .
6
Gor e
Vi d a l,
"Fr e n ch
Le t t e r s",
En coun t e r
(De ce mbe r 1967),
p.
19.
145