The cherry garden.

Chekhov (1860-1904) was the world-famous short novelist and the last great critical realism playwright in Russia, along with the French Mopassanzis. The major playwrights he created include Ivanov (1887), the Seagull (1896) and Uncle Vania (1897), the Three Sisters (1901) and the Cherry Garden (1903).

Cherry Garden is a work of Chekhov in his late years. The script Cherry Garden (1903¨C1904) demonstrates the inevitable decline of the nobility and the historical process replaced by the emerging bourgeoisie, as well as the bold optimism of saying goodbye to the past and hoping for a happy future: the oak of the cherry garden woods is accompanied by the cheerful cry of "Long live the new life!"

For a hundred years, Cherry Garden has always been active on the Russian tone-drama stage. In the centennial stage explanation of this strange "four-scene lyric comedy", the meaning space of the script has been continuously expanded, the directors of different eras have had a spiritual dialogue with Chekhov from their respective angles, and the writer has set up a very inspiring thought on the "comedy mystery", making Cherry Garden on the stage eternally with contemporary significance.

On the evening of August 15, 2011, the first performance of the Moscow Art Theatre to visit China, held in the Beijing Art Capital Theatre, the first performance of Chekhov's famous drama - "Cherry Garden". on the stage, real smoke, real wine, real dog ... is tangible. The drama represents the era of great change, in addition to the economic interests of the cold ice, "there is a complex, sensual, and warm world of emotion." The drama in the period of international sympathy, socialist family, is known as "the highest achievement of the realistic drama of the latter half of the 19th century." 59 years ago, during the period of Beijing's art beginnings, it was the Moscow Art Theatre as the "Mother" theater, the theatre pursued "Stanislava style" by this art drama.

During the show, the Moscow Art Theatre Reviews Exhibition was also exhibited in the capital theatre, while selling various works by Stanisław Stanisław, known as the ¡°Red Treasure Book¡± by Chinese actors.

But until today, in the wave of cultural globalization, the Soviet-Russian literature of China is no longer dominated by ancient Soviet-Russian cultural elements and slow narratives, making it difficult for a new generation of young people to accept.