Editing Anton Chekhov (section)

===Influence on dramatic arts===

In the United States, Chekhov's reputation began its rise slightly later, partly through the influence of [[Stanislavski's system]] of acting, with its notion of [[subtext]]: "Chekhov often expressed his thought not in speeches", wrote Stanislavski, "but in pauses or between the lines or in replies consisting of a single word&nbsp;... the characters often feel and think things not expressed in the lines they speak."<ref>Reynolds, Elizabeth (ed), ''Stanislavski's Legacy'', Theatre Arts Books, 1987, {{ISBN|978-0-87830-127-0}}, 81, 83.</ref><ref name = "Eßlin">"It was Chekhov who first deliberately wrote dialogue in which the mainstream of emotional action ran underneath the surface. It was he who articulated the notion that human beings hardly ever speak in explicit terms among each other about their deepest emotions, that the great, tragic, climactic moments are often happening beneath outwardly trivial conversation." [[Martin Esslin]], from ''Text and Subtext in Shavian Drama'', in ''1922: Shaw and the last Hundred Years'', ed. Bernard. F. Dukore, Penn State Press, 1994, {{ISBN|978-0-271-01324-4}}, 200.</ref> The [[Group Theatre (New York)|Group Theatre]], in particular, developed the subtextual approach to drama, influencing generations of [[Theater in the United States|American playwrights]], screenwriters, and actors, including [[Clifford Odets]], [[Elia Kazan]] and, in particular, [[Lee Strasberg]]. In turn, Strasberg's [[Actors Studio]] and the [[Method acting|"Method" acting]] approach influenced many actors, including [[Marlon Brando]] and [[Robert De Niro]], though by then the Chekhov tradition may have been distorted by a preoccupation with realism.<ref name="Tovstonogov 1968 pp. 146–155">{{cite journal |last=Tovstonogov |first=Georgii |title=Chekhov's "Three Sisters" at the Gorky Theatre |journal=The Drama Review |publisher=JSTOR |volume=13 |issue=2 |year=1968 |issn=0012-5962 |doi=10.2307/1144419 |jstor=1144419 |pages=146–155 |quote=Lee Strasberg became in my opinion a victim of the traditional idea of Chekhovian theatre&nbsp;... [he left] no room for Chekhov's imagery.}}</ref> In 1981, the playwright [[Tennessee Williams]] adapted ''The Seagull'' as ''[[The Notebook of Trigorin]]''. One of Anton's nephews, [[Michael Chekhov]], would also contribute heavily to modern theatre, particularly through his unique acting methods which developed Stanislavski's ideas further.

[[Alan Twigg]], the chief editor and publisher of the Canadian book review magazine ''[[B.C. BookWorld]]'' wrote:

{{blockquote|One can argue Anton Chekhov is the second-most popular writer on the planet. Only Shakespeare outranks Chekhov in terms of movie adaptations of their work, according to the movie database IMDb.&nbsp;... We generally know less about Chekhov than we know about mysterious Shakespeare.<ref>{{Cite book|title = Memories of Chekhov: Accounts of the Writer from His Family, Friends and Contemporaries. Foreword by Alan Twigg.|last = Sekirin|first = Peter|publisher = MacFarland Publishers|year = 2011|isbn = 978-0-7864-5871-4|location = Jefferson, NC|pages = 1}}</ref>}}

Chekhov has also influenced the work of Japanese playwrights including [[Shimizu Kunio]], [[Yōji Sakate]], and [[Ai Nagai]]. Critics have noted similarities in how Chekhov and Shimizu use a mixture of light humour as well as an intense depictions of longing.<ref>{{cite book|last1=Rimer|first1=J.|title=Japanese Theatre and the International Stage|publisher=Koninklijke Brill NV|location=Leiden, The Netherlands|isbn=978-90-04-12011-2|pages=299–311|year=2001}}</ref> Sakate adapted several of Chekhov's plays and transformed them in the general style of ''[[nō]]''.<ref name=Clayton>{{cite book|last1=Clayton|first1=J. Douglas|title=Adapting Chekhov: The Text and Its Mutations|publisher=Routledge|isbn=978-0-415-50969-5|pages=269–270|year=2013}}</ref> Nagai also adapted Chekhov's plays, including [[Three Sisters (play)|''Three Sisters'']], and transformed his dramatic style into Nagai's style of satirical realism while emphasising the social issues depicted in the play.<ref name=Clayton/>

Chekhov's works have been adapted for the screen, including [[Sidney Lumet]]'s ''[[The Sea Gull|Sea Gull]]'' and [[Louis Malle]]'s ''[[Vanya on 42nd Street]]''. [[Laurence Olivier]]'s final effort as a film director was a 1970 adaptation of ''[[Three Sisters (1970 film)|Three Sisters]]'' in which he also played a supporting role. His work has also served as inspiration or been referenced in numerous films. In [[Andrei Tarkovsky]]'s 1975 film [[The Mirror (1975 film)|''The Mirror'']], characters discuss his short story "[[Ward No. 6]]". Woody Allen has been influenced by Chekhov and references to his works are present in many of his films including ''[[Love and Death]]'' (1975), ''[[Interiors]]'' (1978) and ''[[Hannah and Her Sisters]]'' (1986). Plays by Chekhov are also referenced in [[François Truffaut]]'s 1980 drama film ''[[The Last Metro]]'', which is set in a theatre. ''[[The Cherry Orchard]]'' has a role in the comedy film ''[[Henry's Crime]]'' (2011). A portion of a stage production of ''[[Three Sisters (play)|Three Sisters]]'' appears in the 2014 drama film ''[[Still Alice]]''.  The 2022 Foreign Language Oscar winner, [[Drive My Car (film)|''Drive My Car'']], is centered on a production of ''Uncle Vanya''.
 
Several of Chekhov's short stories were adapted as episodes of the 1986 Indian anthology television series ''[[Katha Sagar]]''. Another Indian television series titled ''Chekhov Ki Duniya'' aired on [[DD National]] in the 1990s, adapting different works of Chekhov.<ref>{{cite web |title=Chekhov Ki Duniya |url=https://nettv4u.com/about/Hindi/tv-serials/chekhov-ki-duniya |website=nettv4u |language=en}}</ref>

[[Nuri Bilge Ceylan]]'s Palme d'Or winner [[Winter Sleep (film)|''Winter Sleep'']] was adapted from the short story "The Wife" by Anton Chekhov.<ref>{{Cite journal |last=Diken |first=Bülent |date=1 September 2017 |title=Money, Religion, and Symbolic Exchange in Winter Sleep |url=https://www.berghahnjournals.com/view/journals/religion-and-society/8/1/arrs080106.xml |journal=Religion and Society |language=en-US |volume=8 |issue=1 |pages=94–108 |doi=10.3167/arrs.2017.080106 |issn=2150-9301}}</ref>