Even in his youth, the artist Shaburov understood: it doesn’t matter what a person says; what matters is what they do. This applies to both drama and personal life.
Although a character’s lines are also an action. Only he says one thing, but wants to achieve something entirely different.
Therefore, one should not pay attention to words and neglect nonverbal means of impact.
Because, during his literary experiments, Shaburov decided to test a classic play. He removed all of the characters' dialogue to see what the result would be.
It became shorter and more mysterious.
Although it didn’t yield much substance. Thus, it was a formalist experiment.
Alexander Shaburov
COMEDY IN FOUR ACTS
Characters
Ranevskaya Lyubov Andreyevna, landowner.
Anya, her daughter, 17 years old.
Varya, her adopted daughter, 24 years old.
Gaev Leonid Andreevich, Ranevskaya’s brother.
Lopakhin Ermolai Alekseevich, merchant.
Trofimov Pyotr Sergeevich, student.
Simeonov-Pishchik Boris Borisovich, landowner.
Charlotte Ivanovna, governess.
Epikhodov Semen Panteleevich, clerk.
Dunyasha, maid.
Firs, old butler, 87 years old.
Yasha, young butler.
Passerby.
Station Master.
Post official.
Guests, household staff.
The action takes place at L. A. Ranevskaya’s estate.
Act One
A room that is still called the kids’ room. One of the doors leads into Anya’s room. Dawn—the sun will soon rise. It is already May; the cherry trees are in bloom, but it is cold in the garden—a morning gathering. The windows in the room are closed.
Dunyasha enters with a candle, and Lopakhin enters with a book in his hand.
Pause.
Pause.
Pause.
Epikhodov enters with a bouquet—he is wearing a jacket and brightly polished boots that squeak loudly; upon entering, he drops the bouquet.
Dunyasha enters and offers Lopakhin kvass.
The sound of two carriages approaching the house can be heard. Lopakhin and Dunyasha quickly leave. The stage is empty. Noise begins in the neighboring rooms. Through the stage, Firs hurries past, leaning on a cane—he was riding out to meet Lyubov Andreyevna; he is in an old livery and a tall hat; he mutters something to himself, but not a single word can be made out. The noise behind the stage grows louder. A voice says, «Please come through here…» Lyubov Andreyevna, Anya, and Charlotte Ivanovna, with a dog on a leash, dressed for travel, all pass through. Varya in a coat and scarf, Gaev, Simeonov-Pishchik, Lopakhin, Dunyasha with a bundle and an umbrella, the servants with their luggage—everyone passes through the room.
Everyone leaves except Anya and Dunyasha.
Varya enters; she has a set of keys on her belt.
Dunyasha has already returned with the coffee pot and is brewing coffee.
Yasha enters with a blanket and a travel bag.
Pause.
Firs enters; he is in a jacket and a white vest.
Lyubov Andreyevna, Gaev, Lopakhin, and Simeonov-Pishchik enter; Simeonov-Pishchik is wearing a vest made of fine broadcloth and baggy trousers. Gaev, upon entering, moves his arms and torso as if playing billiards.
Anya offers her hand to Lopakhin and Pishchik, leaves, and closes the door behind her.
Firs places a cushion at her feet.
Varya and Yasha enter.
Pause.
Everyone laughs.
Charlotte Ivanovna, in a white dress, very thin, constrained, with a monocle on her belt, walks across the stage.
Everyone laughs.
Trofimov enters, wearing a worn student uniform and glasses.
She looked back at him.
Lyubov Andreyevna looks on with confusion.
Lyubov Andreyevna embraces him and cries softly.
Lyubov Andreyevna, Trofimov, Pishchik, and Firs leave.
Gaev, Varya, and Yasha remain.
Pause.
Anya appears in the doorway.
Anya appears in the doorway.A pause.Anya enters.Pierce enters.A pause.They walk off.Far beyond the garden, a shepherd plays the pipe. Trofimov walks across the stage and, seeing Varya and Anya, stops.Curtain
Act Two
The setting. An old, warped, long-abandoned chapel, beside which is a well, large stones that were apparently grave markers, and an old bench. The road to Gaev’s estate is visible. To the side, standing tall, are darkening poplar trees; the cherry orchard begins there. In the distance, there is a line of telegraph poles, and far, far out on the horizon, a large city is vaguely discernible, visible only on a very clear day. The sun is about to set. Charlotte, Yasha, and Dunyasha are sitting on the bench; Epikhodov stands nearby playing the guitar; everyone is lost in thought. Charlotte wears an old cap: she has taken her rifle off her shoulder and is adjusting the buckle on her belt.Pause.Yasha hums along.Pause.Pause.Pause.Pause.Pause.Dunyasha throws herself into a sudden embrace with him.Yasha remains, sitting near the chapel. Lyubov Andreevna, Gaev, and Lopakhin enter.Pause.Pause.Firs enters; he has brought a coat.Pause.Trofimov, Anya, and Varya enter.Everyone takes a seat.Everyone laughs.In the background, Epikhodov walks by and plays the guitar.Everyone sits, deep in thought. Silence. All that can be heard is Firs muttering softly. Suddenly, a distant sound echoes, seemingly from the sky—the sound of a snapped string, lingering and melancholic.Pause.Pause.A passerby is revealed in a white, worn cap and a coat; he is slightly drunk.Varya becomes frightened and cries out.Laughter.Everyone leaves except Trofimov and Anya.Pause.Pause.Epikhodov can be heard playing the same sad song on his guitar. The moon rises. Somewhere near the poplars, Varya looks for Anya, calling out, «Anya! Where are you?»Pause.Varya’s voice: «Anya! Where are you?»They walk off.Varya’s voice: «Anya! Anya!»Curtain
Act Three
The living room, separated from the hall by an arch. A chandelier is lit. One can hear a Jewish orchestra playing in the foyer—the very one mentioned in the second act. It is evening. Grand-rond is being danced in the hall. Simenov-Pishchik’s voice: «Promenade à une paire!» They enter the living room: the first couple is Pishchik and Charlotte Ivanovna, the second is Trofimov and Lyubov Andreyevna, the third is Anya with the postal clerk, the fourth is Varya with the station chief, and so on. Varya is quietly crying and wiping her tears while dancing. The last couple is Dunyasha. They walk through the living room. Pishchik shouts, «Grand-rond, balancez!» and «Les cavaliers à genoux et remerciez vos dames!»
«Promenade in pairs!»… «Big round, balance!»… «Gentlemen, down on your knees and thank the ladies» (French).
Firs in a tailcoat carries seltzer water on a tray. Pishchik and Trofimov enter the living room.
The sound of billiards can be heard coming from the next room.
Varya is shown in the hall under the arch. Lyubov Andreevna and Charlotte Ivanovna enter.
A mysterious female voice, as if from under the floor, replies to her: «Oh yes, the weather is magnificent, madam.»
Voice: «I liked you very much too, madam.»
Anya stands behind the shawl; she curtsies, runs to her mother, hugs her, and rushes back into the hall amid general excitement.
She lifts the shawl; Varya stands behind it and bows.
Yasha enters.
The sound of someone running quickly down the staircase in the entryway is heard, and suddenly they fall down with a crash.
Anya and Varya gasp, but laughter is immediately heard.
Anya runs in.
The station chief stops in the middle of the hall and reads «The Sinner» by A. Tolstoy. They listen to him, but as soon as he reads a few lines, the sounds of a waltz drift from the entryway, and the reading is interrupted. Everyone is dancing. Trofimov, Anya, Varya, and Lyubov Andreevna walk out of the entryway.
Anya and Varya dance. Firs enters and places his cane by the side door. Yasha also comes out of the living room and watches the dancing.
Trofimov and Lyubov Andreevna dance in the hall, then in the living room.
Anya enters.
Pishchik enters.
They move into the hall.
In the hall, a figure in a gray top hat and plaid trousers waves his arms and jumps; shouts ring out: «Bravo, Charlotte Ivanovna!»
The music fades.
Epikhodov enters.
Varya leaves the hall.
He walks toward the door, and she follows him.
Epikhodov leaves, and his voice from behind the door calls out, «I will complain about you.»
At this time, Lopakhin enters.
Voices in the hall: «Lopakhin has arrived! Ermolay Alekseich!»
Lyubov Andreevna enters.
Gaev enters; in his right hand he holds purchases, and with his left he wipes his tears.
The billiard room door is open; the clatter of balls and Yasha’s voice can be heard: «Seven and eighteen!» Gaev’s expression changes; he is no longer crying.
Pause.
Lyubov Andreevna is distressed; she would have fallen if she hadn’t been standing near the armchair and table. Varya removes keys from her belt, drops them on the floor in the middle of the living room, and leaves.
You can hear the orchestra tuning up.Music is playing. Lyubov Andreevna sinks onto a chair and weeps bitterly.There is no one in the hall or the living room except Lyubov Andreevna, who sits curled up, weeping bitterly. The music plays softly. Anya and Trofimov quickly enter. Anya approaches her mother and kneels before her. Trofimov remains at the entrance to the hall.Curtain
Scene Four
The decor of the first act. There are no curtains on the windows, no pictures—only a little furniture piled in one corner, clearly for sale. A sense of emptiness pervades the space. Suitcases, luggage, and so on are stacked near the exit door and deep in the stage. The door on the left is open; voices of Varya and Anya can be heard from that way. Lopakhin stands, waiting. Yasha holds a tray of glasses filled with champagne. Epikhodov is tying up a crate in the front. Behind the stage, there is a murmur—the men have come to say goodbye. Gaev’s voice: «Thank you, brothers, thank you.»
The murmur subsides. Lyubov Andreevna and Gaev enter through the front; she is not crying, but she is pale, her face trembling, and she cannot speak.
They both leave.
A pause.
Yasha carefully places the tray on a chair.
A pause.
Trofimov enters from the yard wearing a coat.
Lopakhin pulls out his wallet.
A pause.
One can hear an axe striking wood in the distance.
Dunyasha is constantly busy around the belongings; now that Yasha is alone, she approaches him.
Lyubov Andreevna, Gaev, Anya, and Sharlottovna Ivanovna enter.
She is presented with a hat and a coat.
Lopakhin enters. Sharlottovna quietly hums a little song.
The cry of a child is heard: «Waa, wa!..» «Waa!.. wa!..»
Pishchik enters.
A pause.
Yasha coughs.
A pause.
From behind the door, restrained laughter and whispers are heard; finally, Varya enters.
A pause.
A pause.
A pause.
Varya, sitting on the floor with her head resting on a bundle of dresses, sobs quietly. The door opens, and Lyubov Andreevna carefully steps in.
A pause.
Anya enters, followed by Gaev and Sharlottovna Ivanovna. Gaev wears a warm coat and a bashlyk. The servants and drivers gather. Epikhodov is tidying the belongings.
Trofimov enters, followed by Lopakhin.
Lopakhin pretends to be startled.
Varya surveys the room and leaves unhurriedly.
Yasha and Sharlottovna leave with the little dog.
Lyubov Andreevna and Gaev are left alone. They clearly expected this—they throw themselves into each other’s arms and cry in restrained, quiet sorrow, afraid someone might hear them.
Anya’s voice rings out cheerfully, calling: «Mama!..»
Trofimov’s voice sounds happy and excited: «Au!..»
Anya’s voice: «Mama!..»
Trofimov’s voice: «Au!..»
They leave.
The stage is empty. One can hear all the doors being locked, then the carriages driving away. Silence descends. Amid the quiet, the dull thud of an axe against wood rings out—lonely and sad.Footsteps are heard. Firs appears from the door on the right. As always, he is dressed in a jacket and a white vest, wearing dress shoes. He is ill.A distant sound, as if from the sky, is heard—the melancholy sound of a snapped string. Silence settles, broken only by the distant sound of an axe striking wood in the garden.Curtain1994