Nineteen Eighty-Four by George Orwell-chapter 1-rus-eng mp3 parallel text- Русско-английские mp3 разговорники и аудиокниги

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Nineteen Eighty-Four by George Orwell-chapter 1-rus-eng mp3 parallel text.mp3PDF+MP3
Nineteen Eighty-Four, often published as 1984, is a dystopian novel by English writer George Orwell published in June 1949, whose themes centre on the risks of government overreach, totalitarianismand repressive regimentation of all persons and behaviours within society.[2][3] The novel is set in an imagined future, the year 1984, when much of the world has fallen victim to perpetual war, omnipresent government surveillance, historical negationism and propaganda.

The Great Gatsby by Scott Fitzgerald-chapter 1-rus-eng mp3 parallel text- Русско-английские mp3 разговорники и аудиокниги

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The Great Gatsby by Scott Fitzgerald-chapter 1-rus-eng mp3 parallel text.mp3PDF+MP3
The Great Gatsby is a 1925 novel written by American author F. Scott Fitzgerald that follows a cast of characters living in the fictional towns of West Egg and East Egg on prosperous Long Island in the summer of 1922. The story primarily concerns the young and mysterious millionaire Jay Gatsby and his quixotic passion and obsession with the beautiful former debutante Daisy Buchanan. Considered to be Fitzgerald's magnum opus, The Great Gatsbyexplores themes of decadence, idealism, resistance to change, social upheaval and excess, creating a portrait of the Roaring Twenties that has been described as a cautionary[a] tale regarding the American Dream.[1][2]

Pride and Prejudice by Jane Austen- chapters 1-2- rus-eng mp3 parallel text- Русско-английские mp3 разговорники и аудиокниги

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Pride and Prejudice by Jane Austen-
chapters 1-2- rus-eng mp3 parallel text.mp3
JPG+MP3Pride and Prejudice is an 1813 romantic novel of manners written by Jane Austen.

In the ravine by Anton Chekhov - part 1 -rus-eng mp3 parallel text- Русско-английские mp3 разговорники и аудиокниги

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In the ravine by Anton Chekhov - part 1 -rus-eng mp3 parallel text.mp3PDF+MP3
In the Ravine" (Russian: В овраге, romanized: V ovrage) is a 1900 story by Anton Chekhov first published in the No.1, January issue of Zhizn magazine.

On official business by Anton Chekhov- rus-eng mp3 parallel text- Русско-английские mp3 разговорники и аудиокниги

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On official business by Anton Chekhov- rus-eng mp3 parallel text.mp3
PDF+MP3On Official Duty" (Russian: По делам службы, romanized: Po delam sluzhby) is an 1899 short story by Anton Chekhov.

A medical case by Anton Chekhov- rus-eng mp3 parallel text- Русско-английские mp3 разговорники и аудиокниги

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A medical case by Anton Chekhov- rus-eng mp3 parallel text.mp3
PDF+MP3A Doctor's Visit" (Russian: Случай из практики, romanized: Sluchai iz praktiki) is an 1898 short story by Anton Chekhov, also translated as "A Case History".

About love by Anton Chekhov- rus-eng mp3 parallel text - Русско-английские mp3 разговорники и аудиокниги

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About love by Anton Chekhov- rus-eng mp3 parallel text.mp3PDF+MP3
About Love" (Russian: О любви, romanized: O lyubvi) is 1898 a short story by Anton Pavlovich Chekhov. The third and final part of the Little Trilogy, started by "The Man in the Case" and continued by "Gooseberries".

The Gooseberries by Anton Chekhov- rus-eng mp3 parallel text- Русско-английские mp3 разговорники и аудиокниги

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The Gooseberries by Anton Chekhov- rus-eng mp3 parallel text.mp3
PDF+MP3Gooseberries" (Russian: Крыжовник, romanized: Kryzhovnik) is an 1898 short story by Anton Chekhov, the second one in what has later become known as 'The Little Trilogy', along with "The Man in the Case" and "About Love"...[A]pparently a happy man only feels so because the unhappy bear their burden in silence, but for which happiness would be impossible. It is a general hypnosis. Every happy man should have some one with a little hammer at his door to knock and remind him that there are unhappy people, and that, however happy he may be, life will sooner or later show its claws, and some misfortune will be fall him—illness, poverty, loss, and then no one will see or hear him, just as he now neither see's nor hears others" (Ivan Ivanovich).

The Man in a case by Anton Chekhov - rus-eng mp3 parallel text- Русско-английские mp3 разговорники и аудиокниги

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PDF+MP3The Man in a case by Anton Chekhov - rus-eng mp3 parallel text.mp3The Man in the Case" (Russian: Человек в футляре, romanized: Chelovek v futlyare) is an 1898 short story by Anton Chekhov, the first part of what has been later referred as The Little Trilogy, along with "Gooseberries" and "About Love".

The House with the Mezzanine by Anton Chekhov- rus-eng mp3 parallel text- Русско-английские mp3 разговорники и аудиокниги

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The House with the Mezzanine by Anton Chekhov- rus-eng mp3 parallel text.mp3PDF+MP3
The House with the Mezzanine" (Russian: Дом с мезонином, romanized: Dom s mezoninom) is an 1896 short story by Anton Chekhov, subtitled (and also translated as) "An Artist's Story" (Рассказ художника, Rasskaz khudozhnika).

Uncle Vanya by Anton Chekhov rus-eng parallel text- Русско-английские mp3 разговорники и аудиокниги

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Uncle Vanya by Anton Chekhov -rus-eng parallel text.mp3
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See also

Vanya on 42nd Street is a 1994 film directed by Louis Malle

 based on the play Uncle Vanya by Anton Chekhov

Crystal Turandot Awards winner (“Best performance of the season 2009-2010”)

International Stanislavsky Theatre Awards winner, 2010

The Union of Theatre Workers of Russia annual awards winner (“Hit of the season”, 2010)

Russian Festival of Performing Arts “Golden Mask” award winner (“Best performance of the year” 2011).

The première took place on 2 September 2009

Don’t be surprised if, on going to the Vakhtangov Theatre to see Uncle Vanya, you don’t recognize the familiar characters or if well-known lines take on a different connotation. No, Rimas Tuminas hasn’t committed an act of vandalism, he has not re-written the text, nor has he abridged it. He just sight-read it as if unaware there had been interpreters before him. There is nothing usual, beautiful, familiar. This is not the Chekhov we expect: there is no country house surrounded by garden, no cosy armchairs, table laid for a meal with lace cloth and bubbling samovar, no atmosphere of a family home in which several generations have lived….What we are given is an empty space from which life has departed, a theatre space with grey slips, a plaster of Paris lion – a symbol of Petersburg, perhaps the ancestor who built the house came from there, a workbench made out of rough boards, an old sofa, several chairs of different colours…

The director has freed the stage of the trappings of domesticity, leaving a battle field for passions, broken illusions, dashed hopes.

As seen by Tumanis and brought to life by the actors, Chekhov’s characters live in a world of colliding ambitions, of philosophizing, bouts of hard work and inertia, they are both givers and takers. They are so different and yet so alike – they are all failures. Why? We will look into this at a leisurely pace, from scene to scene, dialogue to dialogue, quarrel to quarrel, investigating moments of coming clean and moments of dissipation.

Chekhov’s work has been seen as a forerunner to the theatre of the absurd. His characters say one thing, do something else and think something totally different to what they say and do. Tuminas’ Uncle Vanya is about what Chekhov’s characters think and what they admit to only at moments of emotional turmoil. They are at times tongue-tied, like Uncle Vanya, or over-brutal like Astrov. But their revelations break out of them frenetically, just as a man breaks out of a stuffy room into the open air.

Director and cast love their characters, who are so different, lonely, at times so ludicrously absurd. Yes, absurd.

Anton Chekhov referred to all his plays as comedies. Directors and audiences found it hard to understand why these stories full of suffering, understatement, always ending on a hauntingly sad note – were comedies. This is not the first time Rimas Tuminas has produced Chekhov, his The Three Sisters and The Cherry Orchard won him acclaim from public and critics. For him, these plays by a remarkable dramatist represent a field for experiment, for probing to the bedrock, a justification of the genre.

Each production by Tuminas brings him closer to the meaning of this enigmatic word comedy, which is so contradictory to the context of the plot. Here Pushkin’s words are apposite: “High comedy is not based solely on laughter, but on development of character and…often comes close to tragedy”.