Why do most people in Anton Chekhov’s plays wait their turn instead of listening to others?
The failure of characters in Anton Chekhov’s plays to listen to one another is not merely a problem of lack of communication, but also a profound reflection of human nature, social changes, and existential loneliness. This is part of Chekhov’s revolutionary approach to theater.
Here are the reasons and implications of this lack of communication:
- Inner Loneliness and Spiritual Detachment
Chekhov’s characters are often trapped in their own inner worlds. They cannot directly express their feelings, regrets, or desires.
Example: Treplev in The Seagull openly expresses his anger and appreciation for art towards his mother, Arkadina, but Arkadina does not take him seriously. This is not a generational conflict, but rather an ignorance of each other’s emotional needs.
Psychological Background: Chekhov portrays his characters’ “inner monologues” on stage. They are not listened to because everyone is preoccupied with their own inner voice.
- The Impact of Social Change and Decadence
Chekhov’s works are set in late 19th-century Russia, during the decline of the aristocracy and the search for a new order. The characters attempt to fill their meaningless lives with conversations amidst this uncertainty, but these conversations are empty.
Example: In The Cherry Orchard, Ranevskaya, despite knowing the orchard will be sold, does nothing. Her conversations with her family do nothing to change the inevitable outcome. This ties into Chekhov’s theme of “inaction.”
Historical Context: Aristocrats (like Ranevskaya) and the rising bourgeoisie (like Lopakhin) do not speak the same language. The lack of communication between classes is reflected in the disconnected dialogues.
- Pioneer of the Theatre of the Absurd: Meaningless Dialogues
Chekhov’s dialogues can sometimes appear absurd. Characters do not respond to each other, abruptly change the subject, or say irrelevant things. This is a technique that anticipates absurdist writers such as Samuel Beckett and Eugene Ionesco.
Example: In Uncle Vanya, the conversations between Sonya and Astrov shift from confessing love to other topics, such as the destruction of forests.
Technical Detail: Chekhov uses “subtext.” What’s not said is crucial. The characters’ failure to listen is a means for the audience to “listen to the silence between you.”
- Human Nature: Egocentrism and Escape
Chekhov’s characters are often selfish. They are so focused on their own suffering that they fail to hear the suffering of others.
Example: In Three Sisters, Andrey is preoccupied with his own unhappy marriage while disdaining his sisters’ dreams of Moscow.
Philosophical Dimension: Chekhov portrays human loneliness and the failure to communicate. This is a precursor to existentialism (Sartre, Camus).
- The Interweaving of Humor and Tragedy
The characters’ failure to listen to each other is sometimes comical and sometimes tragic. Chekhov uses this duality deliberately.
Example: In The Cherry Orchard, Epihodoff’s constant recounting of his misfortunes, while others ignore him, is both humorous and saddening.
Chekhov’s Sense of Humor: “People’s tragedies aren’t funny, but their everyday lives are.” Not listening is part of this everyday absurdity.
Why Does Chekhov Use This Technique?
Chekhov deliberately makes his characters “unheard” to demonstrate the fragility and loneliness of human relationships. His plays are portraits of modern people living together yet living alone.
Striking Quote:
“Most people wait their turn instead of listening to others.”
—This quote encapsulates the essence of Chekhov’s characters.
