Sharp disputes about the genre of The Cherry Orchard, disagreements between the author and the theater arose already during the preparation first performance at the Moscow Art Theater. The perception of the play by the theater alerted the author - as can be seen from the correspondence with O.L. Knipper, who noted, among other things, that Stanislavsky "roared all over" over the play. Stanislavsky, as follows from his letter to Chekhov dated October 22, 1903, insisted that "this is not a comedy, not a farce, as you wrote, this is a tragedy ...". Chekhov did not like the rehearsals that he attended in December 1903. Not only the genre shift of the play towards the “heavy drama of Russian life”, but also unbearable lengths irritate Chekhov. Nemirovich-Danchenko in his memoirs about the first production of The Cherry Orchard, which took place January 17, 1904, admitted that there was a "misunderstanding of Chekhov" - the delicate fabric of the work "the theater took with too rough hands."
The dissatisfaction of the author, his own dissatisfaction forced the theater to continue working on the play. According to Nemirovich, over time, the performance got rid of precisely those shortcomings that Chekhov pointed out, but still a complete transfer of the "author's worldview" did not happen. The growing success of the performance was evidenced by press reviews of the tour in St. Petersburg, as well as the growing popularity of the play with the provincial theater.
In 1928 Moscow Art Theater resumed The Cherry Orchard, wanting to prove that Chekhov is close to the new time. In accordance with the requirements of the moment, the satirical features in the image of Gaev were strengthened, but the desire to saturate the performance with historical optimism is evidence of this intention in the well-known lines from My Life in Art, where Stanislavsky wants to give Lopakhin the "scale of Chaliapin", and Anya - "temperament Ermolova" and shout to the whole world "Hello, new life!" - had no practical implementation. Meanwhile, the Moscow Art Theater tradition of elegiac performances of The Cherry Orchard was firmly established, and therefore could not but cause rejection at the height of Chekhov's "sociological reassessment" in the thirties.
The production of The Cherry Orchard by A.M. Lobanov at the Studio Theater under the direction of R.N. Simonov in 1934. The director said: "I am for Chekhov, but against the Moscow Art Theater." Lobanov did not see any fundamental difference between the characters of the play: everyone was absorbed by the vaudeville petty-bourgeois environment anyway, Trofimov in the performance forced to recall Gorky's characterization of a "cheesy student" who "speaks red": he recited in the bathhouse in front of the gymnasium students (this is how the remark "Gender talk about decadents!"). Anya, first of all, according to Chekhov, the “child” turned into a girl who “condemned her mother and gossiped rather evilly about her”, the “attraction of the aging Ranevskaya to the young footman” was emphasized (Yasha turned out to be Ranevskaya’s lover, sang chansonnets and danced the cancan) . And Firs was dying, "performing some complex physical exercises." The performance, as one would expect, caused a heated controversy - critic Yu. Yuzovsky came out to defend the director, but he also recognized the influence of vulgar sociological concepts on the director.
The theme of the death of culture was seen in the play by A. V. Efros in a vivid interpretation of the play staged at the Taganka Theater in 1975. Set design by V.Ya. Leventhal, this reading was expressed in the transfer of the action to the cemetery. Everyone in the play yearned for beauty, and especially the unusual Lopakhin - V.S. Vysotsky, but they could not comprehend it to the end and save it. The actor, as it were, reminded the viewer of Chekhov’s words about an intelligent person, about Lopakhin’s “thin, like an artist’s fingers,” who painfully wants to join the inaccessible world of culture and cannot. The words at the end of Act III "Who bought?" - “I bought” at the performance sounded like: “Who killed?” - "I killed". In his "drunken dance" Lopakhin - Vysotsky sought to drown the feeling to the end and not conscious guilt.
Unusual for Theater of Satire, elegiac was "The Cherry Orchard" by V.N. Pluchek (1984) with unconventional, enlightened images of Gaev (A.D. Papanov) and Lopakhin (A.A. Mironov). The garden in the performance forked - ugly cherry trees fell to Lopakhin, but over the stage in the play of light there was an elusive ghost garden, a memory garden, a dream garden. Such readings were undoubtedly influenced by the emerging studies on the semantics of Chekhov's image of a garden. Tragic tonality prevailed in the production of I. V. Ilyinsky on the stage of the Maly Theater (1982). Productions by G.B. Volchek at the Sovremennik Theater(1976 and 1997) differed in tone - the latter raised the tone of the performance, made Chekhov "energetic". Ranevskaya M.M. became broken, nervous, suddenly turning from laughter to tears in the new production. Neelova.
In the post-war foreign theater "The Cherry Orchard" becomes one of Chekhov's most popular plays. Chekhov's director after Pitoev in France is Jean-Louis Barrault, who directed The Cherry Orchard, at the Odeon Theater translated by Jacques Neve in 1954. It is from this performance that the tradition of perceiving the play as a parable about the relationship between man and time originates. About his "motto" the director said: "About a man. Through a person. In the name of man." The performance became an event in the cultural life of France not only thanks to the excellent performance of Madeleine Renaud-Ranevskaya and other performers, but also thanks to a serious philosophical approach to the Russian author, who rejected abstract cliché ideas about “Slavic melancholy” and “Russian soul”.
However, the most famous innovative interpretation of the play in modern Western theater was the production of Giorgio Strehler. at the Teatro Piccolo di Milano. The director concludes that the time has come to present The Cherry Orchard as "more universal, more symbolic, more open fantasy". Strehler put forward an original concept for the play, calling it "the problem of three caskets". Three caskets, nested one inside the other, reflect the relationship of the three temporal dimensions of the play: real time - the life of Ranevskaya and Gaev, historical time, where events are seen as if from the outside, and philosophical time. The third box - the box of Life - gives the action a generalized symbolic sound. In Strehler's performance, the main character was the Cherry Orchard, solved conditionally and metaphorically, in the form of a dome hovering over the stage (the performance was designed by Josef Svoboda). Since then, the direction of the Chekhov theater has been extremely interested in the semantics of white color. The hagiographic plan of the production was also emphasized by separate mise-en-scenes and symbolic objects. So, Ranevskaya, according to Strehler, returns not just home, but to childhood - children's toys fell out of the "respected cabinets" here.
The theme of the loss of culture, seen in the loss of the cherry orchard, came to the fore in another well-known performance - directed by Peter Brook at the Bouffe du Nord Theater in Paris in 1980. Narrative, philosophical, lasting every minute of the stage life was "The Cherry Orchard" by Peter Stein, shown in Moscow in 1991. Criticism noted that for the director “nobody died. Everyone is alive - Chekhov, Stanislavsky, and centenary Firs."
Why did the fresh "Cherry Orchard" staged by the famous director outrage me?
The reason is simple: text! The text spoken by the Lenkom stars is not Chekhov. This is Chekhov in a mediocre translation (retelling, exposition of a troechnik). This is Chekhov, abundantly diluted by Mark Zakharov. And a kind spectator, eager to look at the living Armored (Zbruev, Shagin's "dandy", Olesya Zheleznyak), a spectator who has not read the original source or who does not remember the play well from school, may think that Anton Pavlovich is the author of bad dialogues and slurred storylines.
Not only is the piece greatly reduced, in the end, you can leave a glass from a bottle of wine, but it will be a full-fledged glass of wine - with all the nuances, notes and aroma. And you can dilute the wine - whether with water, alcohol, donkey urine, this is a matter of taste. And nothing will remain of the wine but the label. This is roughly what happened in Lenkom with the Cherry Orchard.
The play, "better than which there is in the world," a play-poem, where every line, every word is important, is hopelessly spoiled by inserted Zacharisms.
Well, if you, Mr. Director, want to speak out on some topical issue and give a signal to society, well, then compose your own original text. Or order Dmitry Bykov. But why so brazenly tear someone else's artistic fabric? From helplessness? From impunity? From a sick big mind? From cynicism?
If Chekhov is long dead and cannot knock on the head, as Edward Radzinsky would have done in such a case, this is not a reason to violate his copyrights. You can not write on the poster of this disgrace: Chekhov. Write: Mark Zakharov based on Chekhov's play. How good it is for Brecht (the last example is with the production of The Threepenny Opera by Kirill Semyonovich Serebrennikov) that the heirs monitor the inviolability of his texts! Not a word, not a note!.. Don't touch!..
Pity the actors. They carry some kind of blizzard, nonsense and nonsense instead of Chekhov's music, it is not clear why they repeat the same lines. The feeling that all the actors after the New Year's Eve, with a big hangover, did not learn or forgot the text and speak "in their own words", missing whole fragments.
You can not retell the poem in your own words! It is forbidden!
After this premiere, for the first time, I regretted that Ekaterina Alekseevna Furtseva was no longer in our power.
And one more simple consideration: when Mark Zakharov dies, we are all mortal, and someone smart, who will be appointed in his place, will suddenly want to restore the old Zakharov performances, say, "Three Girls in Blue" or "Memorial Prayer", and will contribute There's a lot of directorial gag in there. He decides that it will be more relevant, sharper. And he will say that this surrogate is the real Zakharov. Interestingly, Mark Zakharovich will not turn in his grave in this case?
Chekhov's play "The Cherry Orchard" became the most famous work of the world dramaturgy of the 20th century, theatrical figures of the whole world turned to its comprehension, but most of the stage interpretations of Chekhov's comedy were created in the writer's homeland - in Russia.
As you know, the premiere of The Cherry Orchard took place on the stage of the Moscow Art Theater in 1904, the directors were K. Stanislavsky and V. Nemirovich-Danchenko. In this famous performance, the images of Gaev and Ranevskaya came to the fore, in a brilliant performance Konstantin Stanislavsky And Olga Knipper-Chekhova, and thus in the center of the production was the line of noble impoverishment, impotence in the face of the impending collapse of life. Such an interpretation did not correspond to the author's intention. Chekhov wrote that the theater played "positively not what I wrote", that the theater "destroyed" the play. Recall that the playwright insisted that the central figure in the play is the role of Lopakhin. For a long time, the play was rehearsed at the Moscow Art Theater as a "heavy drama", despite detailed instructions and the personal presence of the author. However, over time, the performance went better and better, and many drama theaters were in a hurry to introduce the play into their repertoire. So, Vsevolod Meyerhold, who managed to feel the tone of Chekhov's play, staged The Cherry Orchard in Kharkov, about which he informed the author in a letter: “... We play The Cherry Orchard well ... Your play is abstract, like a Tchaikovsky symphony. And the director must catch it with his ear first of all.
The Cherry Orchard can be found in the repertoire of most Russian theaters, many of the performances have become classics of theatrical art. So, the production in 1975 became the legend of the Taganka Theater (Moscow). Anatoly Efros filled with tragedy, a powerful sense of the end of the world.
An absolutely new interpretation of the Chekhov play was proposed in 1984 by the director of the Moscow Academic Theater of Satire Valentin Pluchek, who tried to penetrate Chekhov's masterpiece without introducing his own interpretation. “Chekhov does not need to be completed,” the director thought. In the center of the performance of the Theater of Satire, there is the role of Lopakhin, which he brilliantly performed Andrey Mironov.
The main character in Chekhov's last masterpiece staged Galina Volchek(Moscow theater "Sovremennik") became the Cherry Orchard itself. Her 1997 production is a tragic story about ridiculous and funny people who have no future. material from the site
In 2009, The Cherry Orchard premiered on the stage of the Lenkom Theater in Moscow.
In December 2010, the world premiere took place at the Bolshoi Theater in Moscow. Chekhov's The Cherry Orchard, which has gone through hundreds of stage productions in theaters of different countries in its history, is presented for the first time in the opera genre. The last Chekhov's play was transcribed to music by a French composer Philip Fenelon. “When I wrote music, I remembered Chekhov’s phrase that “Rus” is our Cherry Orchard.” Therefore, in my opera there are echoes of Mussorgsky, Tchaikovsky, Shostakovich and, of course, Russian folklore,” the composer explains.
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On January 17, 1904, Anton Pavlovich Chekhov's play "The Cherry Orchard" was staged for the first time at the Moscow Art Theater. It was this play that was destined to become a symbol of Russian dramaturgy of the 20th century.
The Cherry Orchard is Chekhov's last play and the pinnacle of his dramatic work. By the time this play was written in 1903, Chekhov was already a recognized ruler of thoughts and the author of four plays, each of which became an event - Ivanov, The Seagull, Uncle Vanya, Three Sisters.
The main dramatic feature of The Cherry Orchard is symbolism. The main character-symbol of the play is not this or that character, but the cherry orchard itself. This garden was not grown for profit, but to please the eyes of its noble owners. But the economic realities of the beginning of the 20th century inexorably dictate their laws, and the garden will be cut down, as the noble nests will disintegrate, and with them the noble Russia of the 19th century will go down in history, and it will be replaced by Russia of the 20th century with its revolutions, the first of which not far off anymore.
Chekhov already worked closely with the Moscow Art Theatre. While working on the play, he often discussed it with Stanislavsky, and the main role of Ranevskaya was originally intended for the actress Olga Knipper-Chekhova, who became the writer's wife in 1901.
The premiere of The Cherry Orchard was a great success and became the main event in Moscow at the beginning of 1904, helped by the skill and fame of Chekhov, the reputation of the Moscow Art Theater, Stanislavsky's directing talent and the brilliant performance of the Moscow Art Theater actors. In addition to Olga Knipper-Chekhova, Konstantin Stanislavsky himself (who played the role of Gaev), Leonid Leonidov (as Lopakhin), Vasily Kachalov (who played Trofimov), Vladimir Gribunin (the role of Simeonov-Pishchik), Ivan Moskvin (played Epikhodov) played in the premiere performance , and Alexander Artem delighted the audience in the role of Firs, which Chekhov wrote especially for this favorite actor.
In the same 1904, Chekhov, whose tuberculosis worsened, went to Germany for treatment, where he died in July.
And "The Cherry Orchard" began a triumphal procession on the theater stages of Russia and the world, which continues to this day. Only in 1904, this play by Chekhov was staged at the Kharkov Dyukova Theater (simultaneously with the production at the Moscow Art Theater, premiered on January 17, 1904), by the New Drama Partnership in Kherson (director and performer of the role of Trofimov - Vsevolod Meyerhold), at the Kiev Solovtsov Theater and in Vilna theatre. And in 1905, the audience in St. Petersburg also saw The Cherry Orchard - Yuri Ozerovsky staged a play by Chekhov on the stage of the Alexandrinsky Theater, and Konstantin Korovin acted as a theater designer.
Scene from the second act of the play "The Cherry Orchard" based on the play by A.P. Chekhov. Moscow Art Theater, 1904. Photo from the almanac "Album" The Sun of Russia ", No. 7. Moscow Art Theatre. Plays by A.P. Chekhov" 
Poster for the production of The Cherry Orchard at the Kiev Theatre. 1904. Speaking about the work of A.P. Chekhov, his small humorous stories immediately pop up in my memory, filled with deep meaning and often tragedy, and for theatergoers, he is, first of all, one of the most prominent playwrights of the late 19th and early 20th centuries. Chekhov's play "The Cherry Orchard" was the last in his work. Written in 1903, it was staged on the stage of his beloved Moscow Art Theater in 1904 and became the result of reflections on the fate of Russia. For those who do not have time to read A.P. Chekhov's "The Cherry Orchard" a summary of the actions will help you get acquainted with this work.
Critics called the play "The Cherry Orchard" by Chekhov Anton Pavlovich a drama, and the writer himself believed that there was nothing dramatic in it, and, first of all, it was a comedy.
Main characters
Ranevskaya Lyubov Andreevna- a landowner who left her estate after the tragic death of her son. A lonely middle-aged woman, prone to rash and frivolous actions, living in an ideal world, unwilling to accept reality that could hurt her.
Anya- the seventeen-year-old daughter of Ranevskaya. A young, sane girl who understands that reality has changed, and one must adapt to a new life that cannot be started without breaking with the past.
Gaev Leonid Andreevich- brother of Ranevskaya. Likes to talk about everything in the world. Very often he speaks out of place, which is why he is perceived as a jester and asked to be silent. The outlook on life is the same as that of my sister.
Lopakhin Ermolai Alekseevich- a merchant, a very wealthy person, a typical representative of bourgeois Russia. The son of a village shopkeeper with the business acumen and flair with which he made his fortune. At the same time, he cannot boast of education.
Varya- the adopted daughter of Ranevskaya, who dreams of making a pilgrimage to holy places. During her mother's absence, she acted as the mistress of the house.
Trofimov Petr Sergeevich- a student, a former teacher of Grisha (Ranevskaya's son), who died in childhood. An eternal student who loves to think about the fate of Russia, about what is right and wrong. Very progressive ideas, but no action is taken to implement them.
Other characters
Simeonov-Pishchik Boris Borisovich- the landowner, a neighbor of Ranevskaya, like her, is all in debt.
Charlotte Ivanovna- a governess, she spent her childhood in the circus, where her parents worked. He knows many tricks and tricks, loves to demonstrate them, does not understand why he lives and constantly complains about the lack of a soul mate.
Epikhodov Semyon Panteleevich- a clerk, very clumsy, "22 misfortunes", as those around him call him, in love with Dunyasha.
Dunyasha- housemaid. A young girl, longing for love, tries to behave like a young lady, "a gentle creature, accustomed to a gallant attitude."
Firs- lackey, an old man of 87 years old, who served the family of Ranevskaya and Gaev all his life, refused to create his own hearth and acquire freedom.
Yasha- a young lackey who imagines himself a very important person after a trip abroad. An impudent, dissolute young man.
Early May dawn. It is still cold, but the cherry orchard has already blossomed, filling everything around with aroma. Lopakhin (who overslept the exit to the railway station) and Dunyasha are waiting for the arrival of Ranevskaya, who has spent the last 5 years abroad with her daughter Anya, a governess, and footman Yasha. Lopakhin recalls Lyubov Andreevna as a light and simple person. He immediately tells about his fate, saying that his father was a simple peasant, and he was already "in a white vest, yellow shoes." Without embarrassment, he mentions that, despite his wealth, he did not receive an education. But at the same time, she reproaches Dunyasha with the fact that she dresses like a young lady and behaves inappropriately as a maid. Dunyasha is very excited about the arrival of the hosts. Epikhodov suddenly enters with a bouquet. Dunyasha tells Lopakhin that earlier Epikhodov proposed to her.
Finally, the crews arrive. In addition to those who arrived, other heroes of the play "The Cherry Orchard" appear on the stage, who met them at the station - Gaev, Varya, Semeonov-Pishchik and Firs.
Anya and Lyubov Andreevna are happy to return. We are glad that nothing has changed around, the situation is so unchanged that there is a feeling that they did not leave. A lively bustle begins in the house. Dunyasha happily tries to tell Anya what happened in their absence, but Anya shows no interest in the maid's chatter. The only thing that interested her was the news that Petya Trofimov was visiting them.
From the conversations in the first act, it becomes clear that Ranevskaya is now in an extremely distressed situation. She has already been forced to sell foreign property, and in August her estate with a cherry orchard is to be sold for debts. Anya and Varya discuss this and understand how deplorable their situation is, while Lyubov Andreevna, not used to saving, only sighs and listens to Firs' memories of how they used to sell cherries and what they cooked from them. Lopakhin proposes to cut down the cherry orchard, and divide the territory into plots and rent it out to the townspeople as dachas. Lopakhin promises "at least twenty-five thousand a year income." However, Lyubov Andreevna and her brother are categorically against such a decision, they value their garden: “If there is anything interesting, even wonderful, in the whole province, it is only our cherry orchard.” And yet Lopakhin invites them to think and leaves. Gaev hopes that there will be an opportunity to borrow money to pay off debts, and during this time it will be possible to establish relations with the rich aunt countess and, with her help, finally resolve financial problems.
In the same action, Petya Trofimov appears, ardently in love with Anya.
Action 2
The second action of The Cherry Orchard takes place in nature, near the old church, from where a view of the cherry orchard and the city visible on the horizon opens up. A lot of time has passed since the arrival of Ranevskaya, and only a few days remain before the auction for the sale of the garden. During this time, Dunyasha's heart was conquered by Yasha, who is in no hurry to advertise the relationship and is even shy about them.
Epikhodov, Charlotte Ivanovna, Dunyasha and Yasha are walking. Charlotte talks about her loneliness, that there is no person with whom she could talk heart to heart. Epikhodov feels that Dunyasha prefers Yasha and is very upset by this. It hints that he is ready to commit suicide. Dunyasha is passionately in love with Yasha, but his behavior shows that for him this is just a passing hobby.
Ranevskaya, Gaev, Lopakhin appear near the church. Gaev talks about the advantages of the railway, which allowed them to easily get to the city and have breakfast. Lopakhin asks Lyubov Andreevna to give an answer about the lease of the estate's lands, but she does not seem to hear him, talking about the lack of money, and scolding herself for their unreasonable spending. At the same time, a little later, after these arguments, he gives the golden ruble to a random passerby.
Ranevskaya and Gaev are waiting for a money transfer from the countess's aunt, but the amount is not enough to pay off their debts, and it is not acceptable for them to rent land to summer residents, it’s even vulgar. Lopakhin is surprised at the frivolity and short-sightedness of their behavior, it even angers him, because the estate is for sale, and if you start leasing it, then this will be the best guarantee for any bank. But the landlords do not hear and do not understand what Lopakhin is trying to convey to them. Lyubov Andreevna reproaches the merchant for his lack of education and earthly judgments. And then he tries to woo Varya to him. Gaev, as always at the wrong time, reports that he was offered a job in a bank, but his sister besieges him, saying that he has nothing to do there. Old Firs comes, recalls his youth and how well life was under serfdom, everything was clear and understandable: who was the master and who was the servant.
Then Varya, Anya and Petya join the walkers. And yesterday's conversation continues about pride, about intellectuals, who, despite external education, are in fact small and uninteresting creatures. It becomes clear how different people come together.
When everyone went home, Anya and Petya were left alone, and then Anya admitted that the cherry orchard was not so important to her, and that she was ready for a new life.
Action 3
The third act of The Cherry Orchard takes place in the living room in the evening.
An orchestra is playing in the house, couples are dancing around. All the actors are here, except for Lopakhin and Gaev. August 22 - the day on which the auction for the sale of the estate was scheduled.
Pishchik and Trofimov are talking, they are interrupted by Lyubov Andreevna, she is extremely excited, waiting for her brother to return from the auction, he is delayed. Ranevskaya wonders if the auction took place, and what is their result.
Was there enough money sent by her aunt to buy the estate, although she understands that 15 thousand is not enough, which is not even enough to pay off interest on debts. Charlotte Ivanovna entertains those present with her tricks. Yasha asks her hostess to go to Paris, as he is burdened by the surrounding rudeness and lack of education. The atmosphere in the room is tense. Ranevskaya, anticipating her imminent departure to France and meeting with her lover, is trying to sort out the lives of her daughters. She also prophesies Lopakhin to Varya, and she would not mind marrying Anya to Petya, but she fears his incomprehensible position of an “eternal student”.
At this moment, a dispute arises that for the sake of love you can lose your head. Lyubov Andreevna reproaches Petya for being “above love,” and Petya reminds her that she is striving for an unworthy person who has already robbed and abandoned her once. Although there is still no exact news about the sale of the house and garden, it seems that everyone present has decided what they will do if the garden is sold.
Epikhodov tries to talk to Dunyasha, who has completely lost interest in him; Varya, who is just as much agitated as her adoptive mother, drives him away, reproaching him for acting too freely for a servant. Firs bustles around serving treats to the guests, everyone notices that he is not feeling well.
Enter Lopakhin, barely hiding his joy. He arrived with Gaev, who was supposed to bring news from the auction. Leonid Andreevich is crying. The news about the sale is reported by Ermolai Alekseevich. He is the new owner! And after that, he gives vent to his feelings. He is delighted that the most beautiful estate, in which his grandfather and father were slaves, now belongs to him, and he can allow himself to do whatever he wants in it, the owner of not only the estate, but also life: “I can pay for everything !" He can't wait to start cutting down the garden in order to build dachas in its place, and this is the new life he sees.
Varya throws the keys and leaves, Lyubov Andreevna sobs, Anya tries to console her, saying that there is still a lot of good ahead, and life goes on.
Action 4
Act four begins in the nursery, but it is empty, only in the corner there is luggage and things prepared for removal. From the street comes the sound of trees being cut down. Lopakhin and Yasha are waiting for the former owners to appear, with whom their former peasants have come to say goodbye. Lopakhin escorts the Ranevskaya family with champagne, but no one wants to drink it. Every character's mood is different. Lyubov Andreevna and Gaev are sad, Anya and Petya are in anticipation of the beginning of a new stage in their lives, Yasha is glad that he is leaving his homeland and mother that bothered him, Lopakhin can not wait to close the house as soon as possible and start the project that he conceived. The former owner holds back her tears, but when Anya says that after the sale of the estate, it only became easier for everyone, since they all were able to understand where to move on, everyone agrees with her. Now everyone is going to Kharkov together, and there the paths of the heroes will diverge. Raevskaya and Yasha leave for Paris, Anya - to study, Petya - to Moscow, Gaev agreed to serve in a bank, Varya found a job as a housekeeper in a nearby town. Only Charlotte Ivanovna is not attached, but Lopakhin promises to help her settle down. He also took Epikhodov to him to help in resolving issues with the estate. Of the former inhabitants of this house, only the ill Firs does not fuss, who was supposed to be taken to the hospital in the morning, but because of the turmoil they cannot figure out whether he was taken there or not.
Pishchik runs in for a minute, to the surprise of everyone, he repays the debt to Lopakhin and Ranevskaya, and says that he leased his land to the British for the extraction of rare white clay. And he admits that handing over the land of the estate for him was like jumping from the roof, but after handing over, nothing terrible happened.
Lyubov Andreevna makes one last attempt to arrange the marriage of Lopakhin and Varya, but left alone, Lopakhin does not propose, and Varya is very upset. The carriages arrived and the loading began. Everyone leaves, only the brother and sister are left to say goodbye to the house in which childhood and youth passed, they sob, hugging, saying goodbye to the past, dreams and memories, with each other, realizing that their life has changed irrevocably.
The house is closed. And then Firs appears, who was simply forgotten in this turmoil. He sees that the house is closed and forgotten, but he has no anger at the owners. He just lays down on the couch and soon dies.
The sound of a broken string and the blows of an ax on wood. A curtain.
Conclusion
Such is the retelling of the content of the play "The Cherry Orchard". Having read The Cherry Orchard in abbreviated form, you will, of course, save time, but for a better acquaintance with the characters, to understand the idea and problems of this work, it is desirable to read it in full.
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