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To begin with, Korsh promised me ten rehearsals, but gave me only four, of which only two could be called rehearsals, for the other two were tournaments in which messieurs les artistes exercised themselves in altercation and abuse. Davydov and Glama were the only two who knew their parts; the others trusted to the prompter and their own inner conviction. Act One.
"A Christmas Carol" by Dickens and "The Accursed Prince" by Remizov. Korsh Theatre. "Much Ado about Nothing" by Shakespeare and "Le Misanthrope" and "Georges Dandin" by Moli=8Are. Dramatic Theatre. "Alexander I" by Merezhkovsky. Theatre of Drama and Comedy. "Little Dorrit" by Dickens and "The King's Barber" by Lunacharsky.
Korsh caught me in his theatre and straight away presented me with a free pass.... My medical colleagues sigh when they meet me, begin to talk of literature and assure me that they are sick of medicine. And so on.... September 29. ... Life is grey, there are no happy people to be seen.... Life is a nasty business for everyone.
It's too turbulent and screaming; a quiet, lyrical, touching ending would be more in keeping with your play. Your letters about "The Russalka" and Korsh are very good. The tone is brilliant, and they are wonderfully written. But about Konovalov and the jury, I think you ought not to have written, however alluring the subject.
In the autumn of that year he was asked by Korsh, a theatrical manager who knew him as a humorous writer, to write something for his theatre. Chekhov sat down and wrote "Ivanov" in a fortnight, sending off every act for rehearsal as it was completed. By this time he had won a certain amount of recognition, everyone was talking of him, and there was consequently great curiosity about his new play.
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