The Meaning and Function of the Pause in Chekhov's “The Seagull”

713

Abstract

This article examines the phenomenon of the pause in A. P. Chekhov’s play “The Seagull.” What does the instruction “pause” mean, and why did Chekhov think it was so important that he wrote the word into the text of the play? In exploration of these questions, this article analyzes the text of “The Seagull,” as well as three stage productions. Such analysis reveals three functions of the pause: 1. Dramatic Function. The pause highlights the characters’ words or attracts the attention of the audience. In other words, the pause gives the characters’ speech additional dramatic significance. 2. Musical Function. The pause controls the dynamic unfolding of the play, thereby controlling the audience’s reaction and, ultimately, the success of the play. 3. Negative Function. The pause acts in a fashion similar to Iuriy Lotman’s “minus-device.” That is, by making a lacuna in the scene the pause adds some meaning that cannot be expressed in words. In this way, the pause serves to highlight the limits of communication, and draw attention to those moments which cannot be captured by language.

General Information

Keywords: A. P. Chekhov, “The Seagull,” pause, play, drama, lacuna, dramatic function, musical function, monologue, communication, information.

Journal rubric: General and Comparative Historical Linguistics

Article type: scientific article

DOI: https://doi.org/10.17759/langt.2017040301

For citation: Costello J.B. The Meaning and Function of the Pause in Chekhov's “The Seagull” [Elektronnyi resurs]. Âzyk i tekst = Language and Text, 2017. Vol. 4, no. 3, pp. 3–11. DOI: 10.17759/langt.2017040301. (In Russ., аbstr. in Engl.)

References

  1. Dragunov, V. N. Chajka [Jelektronnyj resurs]. Moskva: Malyj Teatr, 1999. Telekanal Kul'tura. URL: https://www.youtube.com/watch?v=10VElIofIw4. (data obrashhenija: 17.03.2017).
  2. Efremov, O. N. Chajka [Jelektronnyj resurs].  Moskva: MHAT imeni A. P. Chehova, 2001. URL: https://www.youtube.com/watch?v=bO8pv2yJRrc. (data obrashhenija: 17.03.2017).
  3. Zaharov, M. A. Chajka [Jelektronnyj resurs].  Moskovskij teatr Lenkom, 2005. Telekanal Kul'tura. URL: https://www.youtube.com/watch?v= FL9ubOhnnFM. (data obrashhenija: 17.03.2017).
  4. Ishakova Z.Z. Jemotivnyj dejksis i ego dekodirovanie v semiosfere. // Avtoreferat diss… doktora filologicheskih nauk. Ufa, 2012.
  5. Lotman, Ju. M. Struktura Hudozhestvennogo Teksta // Moskva: Iskusstvo, 1970.
  6. Chehov, A. P. Chajka // Polnoe sobranie sochinenij i pisem: v 30 t. T. 13. Moskva: Nauka, 1986. S. 3–60, 257–72.
  7. Allen, David. Performing Chekhov // New York: Routledge, 2001.
  8. Chekhov, A. P. and Simon Karlinsky. Anton Chekhov’s Life and Thought // Selected Letters and Commentary / pod. red. Simon Karlinsky. perevel Michael Henry Heim. Evanston, IL: Northwestern UP, 1973.
  9. Kahn, Douglas. Noise, Water, Meat // A History of Sound in the Arts / Cambridge, MA: MIT Press, 1999.
  10. Kane, Leslie. The Language of Silence // Cranbury, NJ: Associated University Presses, 1984.
  11. Stelleman, Jenny. Aspects of Dramatic Communication // Action, Non-Action, Interaction: A. P. Cechov, A. Blok, D. Charms / Studies in Slavic Literature and Poetics, v. 16. Atlanta, GA: Rodopi, 1992.
  12. Terras, Victor. A History of Russian Literature // New Haven: Yale University Press, 1991.

Information About the Authors

J B. Costello, Graduate student, Slavic Literature Department, Literature Department, Stanford University, Stanford, California, USA, Stanford, USA, e-mail: jbcostello@stanford.edu

Metrics

Views

Total: 3078
Previous month: 66
Current month: 25

Downloads

Total: 713
Previous month: 4
Current month: 3