Uncle Vanya Analysis

“Be sure not to discuss your hero’s state of mind. Make it clear from his actions.” –Anton Chekhov. Uncle Vanya, penned by esteemed playwright, Anton Chekhov, explores ideas of provincial life in Russia, familial tensions, and the struggle of unrequited love. History regards Chekhov as one of the first playwrights to convey complex ideas in dramatic work not only through text, but also through subtext. However, although history celebrates Chekhov for his ability to expose deeper intention within his plays through subtext, I argue that through his descriptive instructions for movement, props and music, it is the stage directions that truly affect the dynamics of the relationships between the characters in the end.

Throughout the play, several

In Act II, Sonya finds herself alone with Astrov late at night, and seizes the opportunity to open him up and explore the possibility of mutual feelings. She offers him cheese and “(They both stand at the sideboard and eat)” (Chekhov 226). The direction of having Sonya and Astrov stand together is significant, as it is in this moment that Astrov realizes the actuality of Sonya’s feelings and decides to play along. Although he is not truly interested in her, the physical indulgence indicates that Sonya has justification to further pursue the possibility of a relationship. In this moment, the dynamic between the two of them shifts from friendly to flirtatious. This shift perpetuates Sonya’s need to physically express acts of love with Astrov, and these acts are evident as Astrov “(Starts to pour another drink). Sonya “(Stops him)”, and pleads, “No, please, don’t drink anymore” (Chekhov 227). By stopping Astrov from pouring another drink, Sonya exemplifies the shift, as her desire for him to take care of himself is more than friendly, it is actually a selfish way of trying to fix him out of love. This dynamic remains in stasis throughout the remainder of the play, as evidenced by Sonya’s behavior in Act IV when Vanya steals morphine from Astrov. In this moment, Sonya must decide whether to believe her uncle or the man she loves, and she

However, while movement and props influence sets of characters, music influences the dynamics between all of the characters by serving as a uniting force. Despite the unrequited love and familial struggles, music holds them together in the first part of the play. This is evident as “(Telegin plays a polka; they all listen in silence)” (Chekhov 215). Contrapuntal to the other forms of stage directions, which drive the action and counteraction, the music causes the characters to stop and to listen together in stillness. Throughout the first half of the play, Telegin strums the guitar and puts on pieces of polka. However, there is no mention of music in the second half of the play. Starting in Act III, when the major event of the play occurs, there is no mention of guitar strumming or polka music. It is in this act that tensions are high, relationships crumble, and bonds are broken. This seems to suggest that music is a symbol of unity and setting aside differences, and the lack thereof in the second half of the play incites a shift in the harmony of the