text:
THURSDAY, March 1, 1883-10 a. m.The Senate met, pursuant to adjournment, Lieutenant Governor Hanna in the Chair.
The reading of the minutes was preceded with at the request of the Lieutenant Governor.
The Secretary, reading as part of the minutes the remarks of Mr. McCullough, reflecting upon the Lieutenant Governor, the reading was interrupted by-
Th9 LIEUTENANT GOVERNOR (to the Secretary): Are yon putting the Speeches of Senators in the minutes?
Mr. WILLARD replied: The Chair ordered them to be taken down.
The LIEUTENANT GOVERNOR responded: Not to be put into the minutes.
When the reading was renewed-
The LIEUTENANT GOVERNOR said the minutes are not correct. The minutes show that a Senator on this floor was elected President; pro tem. last night, and that there was a time during the session of the Senate last night when there was no President of the Senate, and I desire to have the minutes corrected as to that. I will call attention to the rules on that subject. Rule 6 reads: "The President shall have the right to name any Senator to perform the duties of the Chair, but such substitution shall not extend beyond an adjournment." You will remember, and the minutes show, that at the convening of the Senate yesterday afternoon the Lieutenant Governor was in the Chair. About 9 o'clock I called the Senator from Rush [Mr. Spann] to the Chair, and was sitting in the cloak room close by. I went out for a few minutes, and when I came into the Senate Chamber the Senator from Rush was still in the Chair. The Chair had the power, under this rule of the Senate, when the Senate met yesterday afternoon to call any Senator to the Chair, and that Senator for the time would have the same rights as the Lieutenant Governor-the President of the Senate proper. Therefore, that part of the minutes which declares there was no President of the Senate, does not speak the truth, and that part of the minutes ought to be corrected I desire to have this statement of the Chair taken down and go into the records. Just before the adjournment the Chair made a statement of some length that would occupy some three or four pages of that journal, stating the position of the Chair about what purported to be an enrolled act of the House. I see the Secretary has only a few lines on that subject. I desire the remarks of the Chair on the point of order to go upon the journal The Secretary states in the minutes that Senator Voyles offered a resolution. There was no resolution offered to the Senate. The record as to that is incorrect
Mr. WILLARD (interposing): In what respect?
The LIEUTENANT GOVERNOR: The Senator from Washington [Mr. Voyles] rose in his place and asked leave of the Senate to introduce a resolution. Several Senators objected, and the Chair stated that the Senate refused leave. Then the resolution was read for information-that is to see whether the Senators would give their consent.
Mr. WILLARD: That is what the journal shows.
The LIEUTENANT GOVERNOR: If that is the way it is, it is right. The Chair stated to the Senator who one red the resolution that the Senate refused to permit him unless the rules of the Senate be suspended. There was no motion made by any Senator to suspend the rules for the Senator to offer the resolution. The minutes do not show that. The resolution as submitted or offered by the Senator from Washington ought not to go on the minutes for the reason that it was not before the Senate in any manner, shape or form.
Mr. BUNDY thought what the Chair has said about the minutes being incorrect is true: especially that part which relates to the explanation the Chair made early this morning at time of the protest was entered by the Senator from Washington. It is the business of the journal, if it states anything, to state the exact facts. It is the duty of the Senate to arrive at the exact facts as nearly as possible, and when so arrived at it can do no one any harm. He moved that the minutes be corrected in that particular in the particulars the Chair has named.
Mr. VOYLES moved to lay the motion on the table, which motion was seconded by Mr. Willard
The LIEUTENANT GOVERNOR: The minutes have to be corrected.
Mr. BUNDY thought that a question of the page: 274[View Page 274] highest privilege. He didn't want to do anything unfair.
Mr. McINTOSH Didn't you suggest to correct the minutes as the President stated?
Mr. BUNDY: If so it was not properly stated. In the particulars in which the journal is incorrect he moved it be corrected. If there is any- thing in the journal not correct it ought to be corrected-that is nothing more than fair.
Mr. McINTOSH thought the motion should be put in writing.
Mr. BUNDY: I will examine the journal and put my motion in writing in the particulars I think incorrect.
The LIEUTENANT GOVERNOR: The order for correcting the minutes will stay in abeyance until the motion is made in writing.
On motion by Mr. RISTINE the House amend merits to his bill [S. 170] to create the Forty-fourth Judicial District-the County of Montgomery-was concurred in.
On motion by Mr, CAMPBELL his bill [S. 247] to provide for the more profitable and equitable hiring by the State of the convicts in tn.e State Prison-see page 215 of the Brevier Reports-was read the third time and passed by yeas, 36; nays, 4.
Mr. CAMPBELL having this bill provides for a thorough system by which to put the contracts for convict labor m the most open competition, the object being to have the convicts bring the highest price in the market that competition can force, and the result must be to raise the prices paid for convict labor so much as to make the Prisons bring an income to the State, and also to overcome very largely the depressing influence upon free labor, which the present system of low prices for convict labor has caused.
On motion by Mr. DUNCAN his bill [S. 85] to amend Section 2,155 of the act concerning public offenses and their punishment; was read the third time and passed by yeas, 38; nays, 0.
Mr. Duncan explained the bill was intended to relieve the Trustees of Townships of the necessity of changing doors of one-story District School Houses so as to swing outward, and providing they shall not be prosecuted for not doing so.
On motion by Mr. OVERSTREET the bill [H. R. 277] to authorize Boards of County Commissioners to change the course, direction or location of the channels of any stream or body of water, upon petition of a majority of resident land owners adjacent, whose lands are to be affected by the dame, and authorizing the taxation of such lands to keep in repair such works, was read twice by title under a setting aside of th Constitutional rule by a two-thirds vote. The bill read the third time and passed by yeas, 39; nays, 0.
announced its reconsideration of the vote concurring in the agreements of the Committee of Free Conference of both Houses on the general appropriation bill [H. R. 302]
On motion by Mr. YANCEY the bill [H. R. 333] to legalize the incorporation of the Shelbyville and Marietta Turnpike Company was read twice under a suspension of the Constitutional rule by a two-thirds vote, read the third time by section and passed the Senate by yeas, 34; nays, 1.
Mr. YANCEY is assured there is no pending lawsuit or anything of that kind; the bill is local in its character and is all right.
On motion by Mr. WILLARD the Constitutional role was dispensed with and the bill [H. R. 369] concerning the duties of Township, County and State officers was read twice by title, the third time by sections, and passed by yeas, 40; nays, 0.
Mr. WILLARD, explaining. The bill provide that officers' percentage on monies due estates and not paid over for a certain number of years, unclaimed monies; fees etc., shall go into the school fund Instead of the pockets of these officials
Mr. BELL, stating that the bill [H. R. 329] to provide that where patents have been issued for Wabash and Erie Canal lands and been lost, and while mistakes have been issued for lauds sold prior to 1847, and where continuous possession and full judgments have been made, the Auditor of State may issue patents, is a bill very much needed, and on his motion the bill was read twice by title, under a setting aside of the Constitutional restriction, by a two thirds vote, the third time by sections, and passed by yeas, 38; nays, 0, with a Committee amendment.
Mr. HENRY entered a motion to reconsider the vote by which the Senate agreed to and concurred in the report of the Conference Committee on House bill 302, being the general appropriation bill, and that the Senate recede from all Senate amendments to that bill which have not been concurred in by the House.
Then came a recess till 2 o'clock.
On motion of Mr. MAY the House amendments to the bill [S. 121] to legalize the acts of a certain voluntary association in Vauderburgh County were concurred in.
Mr. SAYRE offered a resolution, which was adopted, that the Johnson vs. Overstreet contest case be and the same is hereby made a special order before the Senate for to-morrow at 10 o'clock a. m , and that at 4 o'clock p. m a vote shall be taken as if the Senate was operating under the previous question, and that no other business until 4 o'clock p. m. shall be considered, except by unanimous consent.
On motion by Mr. RAHM, his bill [S. 187] to amend Sections 1 and 3 of the repair of turnpike road act-being Sections 5,104 and 5,106 of the Revised Statutes of 1881]-was read the second time by title, considered engrossed, under a suspension of the rules by a two-thirds vote, read the third time and passed by yeas, 34; nays, 1.
Mr. RAHM explaining the bill strikes out, the sixty days, so any County can avail itself of the present law to make a small levy to keep gravel roads in repair. It is much needed in the southern part of the State where the floods have badly washed many roads.
Mr. BENZ introduced a bill [S. 291] supplement al to an act concerning the publication of the Revised Statutes of iy81, [to authorise the Auditor of State to draw his amounts in favor of Cyrus T. Nixon and Orson M. Tyler for a per diem equal to two dollars per day for extra work as clerks, and George H. Cleming as proof reader-making the pay of clerks five dollars and of proof reader seven dollars per day for the term actually employed on the Revision Committee.] It was read the first time and referred to the Committee on Finance.
On motion of Mr. ADKISON the bill [H. R. 351] to provide for the removal of mill dams and other obstructions from water courses to prevent the overflow of lands, and declaring an emergency, was tinder a suspension of the Constitutional rule by a two-thirds vote read the second time by title only, the third time by sections.
page: 275[View Page 275]Mr. ADKIS0N explaining the author of the bill stated to him there are several old dilapidated mill dams, and there are no means under the present law by which the mills or dams could be removed. This law is to remedy that defect.
Mr. SAYRE suggested objections.
Mr. HENRY could gee no need of this bill being enacted into a law. Why multiply these kinds of laws and thus make a conflict? There is nothing in the bill requiring it to be taken as a cumulative remedy.
Mr. VOYLES desired to know the effect of the provisions of the bill.
Mr. BUNDY replied that by its operations where there is a dam by a mill site, there would soon be no mill by a dam site [Laughter.]
On motion by Mr. ADKISON the bill was referred to the Committee on Swamp Lands, which Committee subsequently reported an amendment, making the bill supplementary to the drainage law.
The amendment was agreed to, and the bill passed by yeas, 30; nays. 19.
Mr. FLETCHER introduced a bill [S. 292] to pay I. F. & W. L. Talbott $4,439 79 for paving in front of the State's property on Meridian street, which was read twice by title only, the third time and passed by yeas, 37; nays, 5-under a suspension of the rules.
On motion by Mr. WHITE the bill [S. 217] to authorize the Willard Library of Evansville to sell certain real estate, was read the second time by title, under a suspension of the Constitutional rule, considered as engrossed, read the third time and passed by yeas, 38; nays, 2.
On motion by Mr. MARVIN the House amendments to his bill [S. 167] to create the Forty-third Circuit-the amendment changing the number to Forty-fifth Judicial Circuit.
On motion by Mr. WILLARD a favorable report from the Finance Committee on the bill [H. R. 61] providing for the taxing of dogs, was concurred in. The bill was read the third time and passed by yeas,-; nays,-.
Mr. WILLARD said the present dog law has proved very unpopular. Now dogs by hundreds are umtagged and untaxed, the law being practically a dead letter. The provision will come in 1884. As the owner has been taxed doubly, the law has an emergency clause so the assessment will be made this spring, as was in the old law previous to 1881. Then the Assessors did not practically carry out and enforce the law. If the Assessor knows the man assessed has not listed his dog the Assessor is fined $5, it is a doubtful question whether a tagged dog can be killed under any circumstances, but this law allows that where the dog is known to have killed or maimed a sheep. Unless a law of this kind is passed within a year there will not be a penny of revenue derived from this source.
The bill passed by yeas, 30; nays, ll.
On motion by Mr. SPANN the Senate concurred in the amendments to the bill [S. 196] which gives more time to a Court in his District,
On motion by Mr. Magee his bill [S. 273] concerning foreign Insurance Companies-authorizing service of legal process upon Insurance Companies doing business inside of the State of Indiana-was read the second time by title only, the Committee amendments agreed to, and made a dispensation of the Constitutional restriction by ft two-thirds vote the m was read the third time and passed by yeas, 36; nays, 1-to take effect forty days after its passage.
On motion by Mr. GRAHAM his bill [S. 275] to require certain officers to keep cash books, was read the third time and passed by yeas, 85; nays, 1.
Mr. VOYLES, favoring its passage: It is due to the public that items of money paid in and paid out should be set down in writing.
On motion by Mr. Duncan the bill [H. R. 256] to provide a fund for the permanent endowment of the State University was read the first time and referred to a Special Committee of Five, with instructions to report at - o'clock to-morrow. The Committee is made to consist of Messrs, Duncan, Magee, Spann, Bell and White.
On motion by Mr. JOHNSON the Constitutional rule was dispensed with by a two-thirds vote, and his bill [S. 206] to require County Auditors to quarterly advertise the amount of school fund remaining unloaned in his office, was read the second time by title only, Committee amendments agreed to, the bill considered as engrossed, and passed by yeas, 36; nays. 4.
Mr. JOHNSON was sure the provisions in this bill will prove very advantageous to the school fund. A number of Counties are now complaining that the school fund can not be loaned, when by advertising in all probability borrowers could be found.
Mr. VOYLES offered the following as a new section to the Senate rules and as an amendment to said rules, and gave notice that on to-morrow, March 2, he will move its adoption:
Section 61. That whenever the Senate shall be notified that any bill that originated in the House and that has passed both branches of this General Assemlby, and that has been delivered to the Governor, and that has by him been returned to the House in which it originated with his objections thereto, and that has been by such House reconsidered and passed over such veto of the Governor, all debate, upon whatever subject or question, shall at once cease, and all other business shall be suspended, and the Senate shall at once, as if the Senate was operating under the previous question, proceed to consider whether such bill shall pass, notwithstanding such veto of the Governor.
On motion by Mr. Bell the Constitutional rule was dispensed with by a two-thirds vote, and the bill [H. R. 230] to legalize the sale of certain real estate in Connersville to Edward F. Claypool, was read the second time by title, the third time by sections, and passed by yeas, 32; nays, 8.
On motion by Mr. Foulke the bill [H. R. 366] to abolish the Maple Grove Cemetery, of Richmond, was read twice by title, the third time by sections, and passed under a suspension of the Constitutional rules by yeas, 39; nays, 0.
On motion by Mr. Smith, of Jay, the bill [S. 280] contemplating a change in the County lines of Grant, Blackford, Warren and Fountain Counties, was read the second time with a majority report favorable, and a minority report recommending its indefinite postponement. Pending the consideration of which the Senate adjourned.


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text:
Checkhov, Anton
A. Skaftymov (essay date 1948)
SOURCE: "Principles of Structure in Chekhov's Plays," in Chekhov: A Collection of Critical Essays, edited by Robert Louis Jackson, Prentice-Hall, 1967, pp. 69-87.
[The following is an abridged version of an essay that was first published in Russian in 1948. Skaftymov addresses the "question of the unity of form and content" in Chekhov's plays.]
There is a rather large and in many respects substantial body of secondary literature on Chekhov's dramaturgy.
Contemporaries noted a peculiarity in Chekhov's plays at the time of the first productions. At first they interpreted this peculiarity as Chekhov's inability to manage the problems of continuous living dramatic movement. Reviewers spoke of "prolixity," of the lack of "stage-craft," of "insufficient action" and weakness of plot. In reproaching Chekhov, contemporaries wrote that "he himself does not know what he wants," that "he does not know the laws of drama," that, he does not fulfill the "most elementary demands of the stage," that he writes some sort of "reports," that he gives little pictures with all the chance accidentality of photography, without any thought, and without expressing his own attitude.
K. S. Stanislavsky and V. I. Nemirovich-Danchenko noted the so-called "undercurrent,"1 the most essential principle in the dramatic movement of Chekhov's plays. They revealed the presence of a continuous,...
(The entire section is 8189 words.)
Hingley, Ronald (essay date 1950)
SOURCE: "Chekhov's Last Years: His Approach to Drama," in Chekhov: A Biographical and Critical Study, George Allen & Unwin, 1966, pp. 219-44.
[In the following excerpt from a work that was first published in 1950, Hingley examines the essential characteristics of Chekhovian drama.]
A 'Revolutionary' Dramatist
Chekhov was admirably fitted to become the leading dramatist of the Moscow Art Theatre because he thoroughly agreed with Nemirovich-Danchenko and Stanislavsky in wanting to get away from the conventions and atmosphere of the existing Russian stage. His four major plays—The Seagull, Uncle Vanya, Three Sisters and The Cherry Orchard—mark a break with tradition so startling that many critics call him a 'revolutionary' dramatist. In defining the revolution which he accomplished it is impossible to avoid paradoxical language—he is frequently said to have 'purged the theatre of theatricality', to have written 'undramatic drama' and 'tragedies, the essence of which consists in the absence of tragedy'.
Like the directors of the Art Theatre he objected to an over-concentration on a small number of characters, and seems to have been feeling his way towards this position as early as 1887 when he wrote Ivanov, in which he claimed that there was not a single hero or villain. Though Ivanov certainly lacked...
(The entire section is 4854 words.)
David Magarshack (essay date 1960)
SOURCE: "Introductory," in Chekhov the Dramatist, Hill and Wang, 1960, pp. 13-49.
[In this essay, Magarshack explores Chekhov's views on art and the Russian theater of his day, as expressed in his letters and occasional writings.]
Chapter I
The plays of Chekhov, like those of any other great dramatist, follow a certain pattern of development which can be traced through all its various stages. His last four plays, moreover, conform to certain general principles which are characteristic of the type of indirect-action drama to which they belong. Chekhov himself was fully aware of that. Already on November 3rd, 1888, in a letter to Alexey Suvorin, he clearly stated that all works of art must conform to certain laws. "It is possible to collect in a heap the best that has been created by the artists in all ages," he wrote, "and, making use of the scientific method, discover the general principles which are characteristic of them all and which lie at the very basis of their value as works of art. These general principles will constitute their law. Works of art which are immortal possess a great deal in common; if one were to extract that which is common to them all from any of them, it would lose its value and its charm. This means "that what is common to them all is necessary and is a conditio sine qua non of every work which lays claim to immortality."
(The entire section is 13644 words.)
Charles B. Timmer (essay date 1960)
SOURCE: "The Bizarre Element in Čechov's Art," in Anton Cechov, 1860-1960: Some Essays, edited by T. Eekman, E. J. Brill, 1960, pp. 277-92.
[In this essay, Timmer traces Chekhov's use of the "bizarre, " defined as "a statement, or a situation, which has no logical place in the context or in the sequence of events, the resulting effect being one of sudden bewilderment. "]
A study in literature, whether on Gogol', Dostoevskij or Cechov is bound to involve a study in anti-reason: it cannot limit itself to a study of aesthetic laws only, unless we are prepared to assume that the grotesque, the bizarre, the absurd elements in the works of these authors are unexplainable phenomena.
The grotesque, the bizarre, the absurd,—by using these words I realize that I am bringing to the foreground certain aspects of Čechov's art, which to my knowledge did not thus far have the attention they undoubtedly deserve. It is certainly not my ambition to exhaust the subject in these notes; my purpose is merely to outline it and to make an attempt to trace the difference between the technique of the bizarre in Čechov's last works and his use of the bizarre element in his early stories; for example, between a little scene like this in The Cherry Orchard (1903-04):
Varja: The estate will be up for sale in August.
(The entire section is 7584 words.)
Maurice Valency (essay date 1966)
SOURCE: "The Sound of the Breaking String," in The Breaking String: The Plays of Anton Chekhov, Schocken Books, 1983, pp. 289-301.
[In the following excerpt from a work that was first published in 1966, Valency places Chekhov in the context of the social and cultural upheavals of his time.]
Chekhov's drama, like Ibsen's, represents a world in transition. In Ibsen's Norway, wherever that might be, the impact of modern thought in the latter half of the nineteenth century brought about a relatively peaceful revolution. In Russia the idea of the state was formulated along particularly rigid lines, and the transition from the old to the new was accompanied by impressive rites of passage. In his Autobiography, Gorky speaks with something like awe of an old policeman's description of the invisible thread that issued from the heart of the Tsar and wound through his ministers down to the least of his soldiers in a web that encompassed the nation.1 To many, life under these conditions seemed intolerable; but the thought of breaking the tie caused much uneasiness.
One of the constant complaints of the time centered on the breakdown of communication between fathers and sons, and the abyss that divided the older generation from the younger. This is, no doubt, a universal complaint in all periods, but the social and economic situation of Russia in the latter half of the nineteenth...
(The entire section is 4558 words.)
Kenneth Rexroth (essay date 1967)
SOURCE: "Chekhov's Plays," in Saturday Review, Vol. L, No. 27, 8 July 1967, p. 18.
[In this essay, Rexroth comments on the profound change in the nature of drama brought about by Chekhov.]
It comes as a bit of a shock to sit yourself down and deliberately think, "In the first half of the twentieth century, the position once occupied in ancient Greece by Aeschylus, Sophocles, and Euripides was held, in the estimation of those who sought serious satisfaction in the modern theater, by Ibsen, Strindberg, and Chekhov." What had happened in two thousand years? Had it happened to the audiences, or to the playwrights, or to the self-evolving art of drama? Or was the change more profound than this, more profound even than a change in the meaning of civilization—was it a change in the very nature of man? We still say we enjoy Antigone; but if we go directly from a performance of that play to Chekhov's Three Sisters, it is difficult not to believe that the men of Classic times were different from us, a different kind of men.
In certain plays, both Ibsen and Strindberg set out deliberately to compete with the great past, with Shakespeare or Schiller or Sophocles or Aeschylus. The results are hardly competition. Peer Gynt or Damascus bears little resemblance to the past, though certain Strindberg plays do contain distorted reflections of Euripides. But...
(The entire section is 1447 words.)
J. B. Priestley (essay date 1970)
SOURCE: "Chapter 7," in Anton Chekhov, A. S. Barnes & Co., 1970, pp. 70-82.
[In the essay below, Priestley admires the psychological depth of Chekhov's characters, arguing: "It is this depth, where consciousness dissolves into the fathomless unconscious, where new half-realized meanings gleam and then vanish like fish in some deep lake, that constantly renews for us the fascination of [Chekhov's] drama. "]
The first Chekhov play I ever saw was The Cherry Orchard. This was in 1925 when it had its first London run. (There had been a single Stage Society performance as far back as 1911.) I took a girl with me, an intelligent girl who was a newly qualified doctor, and I remember that she left the theatre feeling bewildered and rather resentful. But the play, even in this faulty production, had enchanted me. The magic of it lingered for days. Since then I have seen many different productions of The Cherry Orchard. The best I ever saw was when I was in Russia in 1945, in a performance beginning at the curious hour of noon on Sunday, and it was of course being given by the Moscow Art Theatre, largely by players who had been trained and directed by Stanislavsky. Compared with that, the performance given by the Moscow Art Theatre during its visit to London in 1958 was disappointing. Incidentally, almost all the earlier British and American productions of Chekhov were too slow,...
(The entire section is 3150 words.)
David Magarshack (essay date 1972)
SOURCE: "Introduction," in The Real Chekhov: An Introduction to Chekhov's Last Plays, George Allen & Unwin, 1972, pp. 9-18.
[In the following, Magarshack examines misinterpretations of Chekhov's plays by theater directors, translators, and others.]
The stage is a scaffold on which the playwright is executed.
Chekhov (Letters)
Chekhov's chief executioners both in Russia and England (not to mention the United States) have been the directors, who quite consistently disregard Chekhov's intention in writing his plays, inevitably producing a crude distortion of their characters and a travesty of their themes. 'It is highly necessary', Mr Basil Ashton declared in a letter to the New Statesman (II September 1970)
for anyone who really cares about the classics to insist on the theatre providing a few directors who respect their author, rather than seeking, solely, to air their egos.… It is only by the writings of dramatists that the theatre survives, and directors should consider this fact as strongly as modern conductors seem able to consider the importance of the composer. As I happen to be a director myself, I cannot be accused of self-interest when I repeat that a director is only of any use when he serves the dramatist and allows the public to see and understand what...
(The entire section is 3683 words.)
Siegfried Melchinger (essay date 1972)
SOURCE: "Chekhov and the Craft of Theater," in Anton Chekhov, translated by Edith Tarcov, Frederick Ungar Publishing Co., 1972, pp. 62-84.
[In the essay below, Melchinger investigates the ways Chekhov overthrew the theatrical conventions of his day.]
In 1902, Chekhov wrote to Alexander Tikhonov:
You say you wept over my plays. You are not the only one. But I did not write them for this. It was Stanislavsky who made them so tearful. I intended something quite different.
Chekhov's judgment of Stanislavsky's productions of the Chekhov plays—as numerous passages from letters and witnesses' observations testify—can be summarized in a sentence he wrote about the production of The Cherry Orchard a few weeks before his death: "Stanislavsky has ruined my play."
It is said that dramatists cannot judge the productions of their plays. That may be true of those who do not understand the theater, but not of Chekhov, who knew and understood the stage. When he was still an adolescent in Taganrog his favorite pastime was attending the theater. When he went to Moscow as a nineteen-year-old, to study medicine and to rescue his family from their poverty-stricken life, the theater attracted him more than anything else. He wrote his stories to earn a living. Now that a heavily edited draft of Play without a...
(The entire section is 6485 words.)
Janko Lavrin (essay date 1973)
SOURCE: "Anton Chekhov," in A Panorama of Russian Literature, Barnes & Noble, 1973, pp. 175-86.
[In the following excerpt, Lavrin investigates Chekhov's "method of showing the tragic nature of everyday existence in its ordinary everyday conditions. "]
The impact of Chekhov on world literature seems in some respects stronger than that of any other modern Russian author after Dostoevsky. This applies to his plays even more than to his stories,1 since he happens to be one of the reformers of the modern theatre and drama. Chekhov himself proclaimed (in one of his letters) the theatre of his time a 'skin disease, a world of muddle, of stupidity and high-falutin' which should be swept away with a broom.' He did not mind being such a broom even in the late 1880s when the only conspicuous reformer in this respect was Henrik Ibsen. Chekhov's inauguration of drama devoid of traditional plot and big theatrical gestures, not to mention the old declamatory pathos, was a courageous feat in those days, although he may have faltered now and then under the weight of his own experiments. His Ivánov, for example, was given a brilliant first performance in the Alexandrinsky theatre at St Petersburg on 31 January, 1889. Its reception was favourable, which, however, could not be said of his next play, The Seagull (Cháika), produced in October 1896. Chekhov felt so depressed by its...
(The entire section is 3352 words.)
Peter Mudford (essay date 1979)
SOURCE: "Anton Chekhov," in The Art of Celebration, Faber and Faber, 1979, pp. 110-22.
[In this excerpt, Mudford explores how Chekhov's characters struggle between present despair and hope for the future.]
What beautiful trees—and how beautiful, when you think of it, life ought to be with trees like these!
Three Sisters, Act Four
Tolstoy once complained to Chekov in conversation: 'You know I cannot abide Shakespeare, but your plays are even worse.1 Chekov's plays lacked, in his opinion, a point of view. Chekov, who felt an unequalled love and affection for Tolstoy, admitted the truth in what he was saying; but could not do anything about it.
I have often been blamed, even by Tolstoy, for writing about trifles, for not having any positive heroes … but where am I to get them! Our life is provincial, the cities unpaved, the villages poor, the masses abused. In our youth we all chirp rapturously like sparrows on a dung-heap, but when we are forty, we are already old and begin to think of death. Fine heroes we are!2
In Chekov's view, the life of the individual was all too often unfulfilled and impoverished, spiritually as well as materially. If he had probed more deeply, he might have reached a view of character not unlike Ibsen's...
(The entire section is 4166 words.)
Irina Kirk (essay date 1981)
SOURCE: "Chekhov's Plays," in Anton Chekhov, Twayne Publishers, 1981, pp. 126-56.
[Kirk provides a detailed examination of each of Chekhov's full-length plays.]
Chekhov wrote his first plays at the age of eighteen, but all that survived of those efforts are the titles: a drama Without Fathers, a comedy Laugh It Off If You Can, and a one-act comedy "Diamond Cuts Diamond." (These titles are mentioned by Chekhov's eldest brother, Aleksandr, in a letter of October 14, 1878.) The manuscript of the earliest preserved play by Chekhov was discovered after his death and published in 1923. Because of the missing title page it was published as A Play without a Title,1 but later it was named Platonov after the play's main character. Although the manuscript is undated there is evidence that the play was written in 1881, since Chekhov's brother Mikhail refers to it in his introduction to the second volume of Chekhov's letters. Apparently Chekhov took this play to the then-famous actress Mariya Yermolova with hopes that it would be performed at the Maly Theatre, and its rejection caused him great disappointment.
The play lacks artistic merit. It is too long, melodramatic, and as Mikhail wrote, "unwieldly," but it does offer interesting material for a study tracing some of Chekhov's themes and characters to their original sources. It is...
(The entire section is 12790 words.)
J. L. Styan (essay date 1981)
SOURCE: "Chekhov's Contribution to Realism," in Modern Drama in Theory and Practice, Volume 1: Realism and Naturalism, Cambridge University Press, 1981, pp. 81-91.
[In the excerpt below, Styan views the inducement of ironic detachment in the audience as Chekhov's most important contribution to realist theater. Styan states: "It is this effect of distancing, together with the troubling relevance of his human and social themes and the elusive lyricism of his stage, which has made Chekhov an immeasurably pervasive influence on the form and style of realistic drama in the twentieth century."]
The Moscow Art Theatre went on to produce the last plays of Anton Chekhov (1860-1904), each with a structure more fragile than that of The Seagull with its comparatively conventional plotting. These were Chekhov's masterpieces, Uncle Vanya (1899), Three Sisters (1901) and The Cherry Orchard (1904). Whereas Stanislavsky largely developed his thinking about the art of the theatre after Chekhov's death, it was during the production of these plays that Chekhov increased his understanding of stage realism. He learned by experience and largely taught himself.
Three Sisters was the first play he wrote knowing who might play the parts. This factor might be thought to make it easier to write 'to the life', but in practice the availability of...
(The entire section is 4128 words.)
Richard Peace (essay date 1983)
SOURCE: "Introduction," in Chekhov: A Study of the Four Major Plays, Yale University Press, 1983, pp. 1-15.
[In the following essay, Peace focuses on the "emotional atmosphere" or "mood" Chekhov evokes in his plays.]
Chekhov, as a playwright, is the inheritor of a Russian tradition which, deeply indebted to Western models, nevertheless has its own recognisable idiom; in the words of one critic it exhibits 'a magnificent picture gallery, but no great narrative ingenuity'.1 Although this characterisation specifically refers to the 'comedic tradition that leads from Griboyedov to Chekhov, the observation is broadly true for Russian literature as a whole, with its emphasis on character (i.e. psychology) at the expense of the neatly tailored plot.
Chekhov is also the inheritor of another Russian tradition, according to which seminal plays were written by authors excelling in other genres (Pushkin, Gogol, Lermontov, Turgenev, Tolstoy). Chekhov only achieved success in the theatre towards the end of his life, when he already enjoyed an established reputation as a writer of short stories. This fact undoubtedly conditioned his approach to dramatic art; his stage settings at times contain evidence of a striving for total authorial control more appropriate to description in the short story than to the business-like deployment of properties and scenery for a producer and actors. Thus in...
(The entire section is 6214 words.)
Leslie Kane (essay date 1984)
SOURCE: "Chekhov," in The Language of Silence: On the Unspoken and the Unspeakable in Modern Drama, Fairleigh Dickinson University Press, 1984, pp. 50-76.
[In the following essay, Kane investigates Chekhov's use of language and silence in his plays, arguing: "Aware that speech, like time, is an anthropocentric effort to limit, control, and elucidate the chaos of experience, Chekhov relies on the unspoken to expose and examine the elusive and the enigmatic both within and beyond man. "]
Anton Chekhov, respected for the concision, objectivity, sensitivity, and humanity of his short stories, began writing for the theatre in the 1880s. He was, in the opinion of Robert Corrigan, "the first playwright who sought to create in his plays a situation which would reveal the private drama that each man has inside himself and which is enacted everyday in the random, apparently meaningless and undramatic events of our common routine."1The Sea Gull, Uncle Vanya, Three Sisters, and The Cherry Orchard, written at the end of the nineteenth century and the beginning of the twentieth, represent perfection of the Chekhovian dramatic form: the subtle, complex interplay of expression and suggestion.
Chekhov achieves the coalescence of phenomenal and psychological experience by fusing thought and technique.2 His experimentation with dramatic form, content, and...
(The entire section is 12970 words.)
Pyotr Palievsky (essay date 1985)
SOURCE: "Chekhov's Realism," in Soviet Literature, No. 1 (442), 1985, pp. 154-60.
[In the following essay Palievsky discusses Chekhov's positive depiction of the common people, maintaining that the writer "formed an invisible link between a high ideal and the perceptions, requirements, tastes and foibles of the ordinary man. "]
Chekhov, viewed in historical perspective, gives the ideal of Russian literature a new impetus or, perhaps, considering the distinctive features of his work, one should say that he gives it new substance. In him, literature regains its primary solidity, restores and develops its sovereign mode of thought and image of life, and its objectivity is strengthened. Life (in all its fullness and through artistic imagery) comes into its own, asserting its primacy over dreams, negations, fantasies, impulses of the moment and projects no matter how wonderful they may be. Much more wonderful than all this is Chekhov's infinite truth of reality.
However, Chekhov, like other Russian classics, is inconceivable and puzzling outside the common ideal of Russian literature. Not to be aware of this in Chekhov is like failing to see the light that snatches Nikolai Gogol's exaggerated, grotesque characters out of unfathomable darkness or the underlying positive thrust of all the ideas that crowd Fyodor Dostoevsky's works.
And yet Chekhov's realist writing uncannily...
(The entire section is 2718 words.)
Martin Esslin (essay date 1985)
SOURCE: "Chekhov and the Modern Drama," in A Chekhov Companion, edited by Toby W. Clyman, Green-wood Press, 1985, pp. 135-45.
[In the essay below, Esslin assesses the impact of Chekhov's revolutionary dramatic technique on the history of Western theater.]
Anton Chekhov was one of the major influences in the emergence of a wholly new approach to the subject matter, structure, and technique of dramatic writing at the end of the nineteenth century. It can be argued that he, in fact, occupies a key position at the point of transition between a millennial convention of "traditional" and the emergence of "modern" drama.
What was it that the "modern" drama replaced? What was it that the multifarious types of traditional dramatic fiction, however different they might appear, had fundamentally in common—from Greek tragedy and comedy to the well-made play of the nineteenth century; what were the characteristics that all these shared that were so decisively displaced by the new elements of the "modern"?
It was not what had so long been regarded as the hall-marks of the truly correct and classical form of drama: the Aristotelian unities of time, place, and action. After all, medieval drama, the Elizabethans, and the Romantics had superseded those by constructing rambling, epic plot-lines. But Greek drama and the French classical tradition, the medieval mystery plays and the...
(The entire section is 5144 words.)
J. L. Styan (essay date 1985)
SOURCE: "Chekhov's Dramatic Technique," in A Chekhov Companion, edited by Toby W. Clyman, Greenwood Press, 1985, pp. 107-22.
[In the following essay, Styan looks at the characters, settings, plots, and moods of Chekhov's plays.]
As the years pass and as Chekhov's plays are given different treatments and exposed to new and larger audiences, it grows increasingly clear that Chekhov was the complete playwright. In his awareness of the needs of the stage and its actors it might be said that he was also a complete man of the theatre. He held to a minimum of rules for writing a play, and he ruthlessly abandoned others that had been sanctified by centuries of tradition, but he could only do this because he enjoyed a full sense of the theatre. A sense of the theatre embraces not so much its mechanics of acting and staging, plotting, and character-drawing as the way a playwright may exactly manipulate an audience for its strongest, yet its subtlest and most rewarding, response. This account of the method by which Chekhov put his major plays together, therefore, will emphasize how he made them work in performance. Only once before in the story of the theatre, in the plays of Shakespeare, do we find such a bold sequence of experiments to secure an audience's maximum participation in the workings of the stage. On these grounds alone it is arguable that not only is Chekhov Russia's greatest dramatist...
(The entire section is 8021 words.)
Péter Egri (essay date 1986)
SOURCE: "The Mosaic Design," in Chekhov and O'Neill: The Uses of the Short Story in Chekhov's and O 'Neill 's Plays, Akadémiai Kiadó, 1986, pp. 68-117.
[In the following excerpt, Egri demonstrates how themes and motifs from Chekhov's short stories are incorporated into "mosaic patterns " in Three Sisters and The Cherry Orchard.]
The most intricate and refined strategy of composing a dramatic whole out of short-story-like units is the application of the mosaic design. It represents a total integration of short-story-oriented elements, minor motifs, even fragmentary motives, into a dramatic pattern. How conscious Chekhov was of the nature and merits of the procedure is witnessed by his letter of May 8, 1889, to his brother, Alexander Pavlovich: "The large number of re-visions need not trouble you, for the more of a mosaic a work is, the better. The characters stand to gain by this. The play will be worthless if all the characters resemble you.… Give people people, and not yourself."1 It is worth bearing in mind that for Chekhov the plasticity, objectivity and variety of the characters in a play can be obtained by the dramatic adoption of the mosaic technique, and conversely, the mosaic principle is applied to reach these very effects. Describing The Wood Denton (then a play in progress) in a letter of May 14, 1889, to A. S. Suvorin, Chekhov calls it "something of a...
(The entire section is 12790 words.)
Richard Peace (essay date 1987)
SOURCE: "Chekhov's 'Modern Classicism,'" in The Slavonic and East European Review, Vol. 65, No. 1, January 1987, pp. 13-25.
[In this essay, Peace uncovers elements of Greek classical tragedy in The Seagull and Three Sisters.]
Chekhov's real career as a dramatist may be seen as having begun with The Seagull: it marks the onset of the truly Chekhovian theatre. In this play the young writer Treplev issues something in the nature of a manifesto with his denunciation of the conventional theatre of his day and the staging of his own play, designed to impress (and to reproach) his mother—a pillar of that theatre, and her lover—the established writer Trigorin.
It is tempting to see in Treplev's demands for new forms in the theatre a manifesto launched by Chekhov himself. Indeed his fellow writer Potapenko (whose own life, as we know, provided material for Chekhov's plot) records that at the time of writing The Seagull Chekhov was himself constantly talking of the need for 'new forms'.1 Nevertheless Treplev's playlet is obviously far removed from Chekhov's own innovatory achievements. But it is only, perhaps, a matter of degree: for if we consider that Chekhov's own revolutionary theatre was a subtle combination of naturalism and symbolism, in which speech and poetic mood replaced overt action, then all these elements, but in a extreme and...
(The entire section is 6073 words.)
Laurence Senelick (essay date 1987)
SOURCE: "Stuffed Seagulls: Parody and the Reception of Chekhov's Plays," in Poetics Today, Vol. 8, No. 2, 1987, pp. 285-98.
[In the essay below, Senelick surveys works that caricature and satirize Chekhov's dramas.]
Parody, the late Dwight Macdonald has declared, is "an intuitive kind of literary criticism, shorthand for what 'serious' critics must write out at length" (1969:xiii).1 At its most refined, parody speaks to the in-crowd, those who are closely acquainted with the text being parodied, and who can best appreciate the accuracy of the parodist's hits. In its perception of an author's foibles and tics, parody must be as astute and as keen as any literary analysis; often, it is informed by a clear-sighted affection for its object of concern. The best parodist, at the level of a Max Beerbohm or a Marcel Proust, has so alert an ear for the idiosyncrasies of his author that his imitation may be all but indistinguishable from the original.
Generally, however, parody is normative, aiming to prune the excesses and eccentricities from a work of art. It is, in George Kitchin's definition, quoted by Macdonald, "the reaction of centrally-minded persons to the vagaries of the modes … [it is] inveterately social and anti-romantic" (p. 560). But it is only a step from anti-romanticism to philistinism and so, much of what passes for parody falls under the heading of heavy-handed...
(The entire section is 6016 words.)
Milton Ehre (essay date 1992)
SOURCE: "Introduction," in Chekhov for the Stage, Northwestern University Press, 1992, pp. 1-16.
[In this essay, Ehre discusses Chekhov's efforts to "capture common reality" in his plays.]
Anton Chekhov was born in the provincial town of Taganrog on the Sea of Azov in 1860. His father was a grocer; his grandfather had been a serf. A difficult childhood—poverty, an ambitious and tyrannical father, a long-suffering mother—left its scars: "In childhood I had no childhood." He was gregarious but had a streak of melancholy in his nature and fled from intimacy. "No one," his friend Ivan Bunin wrote, "not even those closest to him, knew what went on deep inside him. His self-control never deserted him." Neither did his good humor, his decency, his sense of personal dignity. In Chekhov's presence, Gorky remembered, "everyone involuntarily felt a desire to be simpler, more truthful, more oneself."
Chekhov reached maturity at the time when the Industrial Revolution finally hit Russia with full force. The social composition of Russian literature before the age of Chekhov can be summed up by the title of a Tolstoy story, "Master and Man"—or "Landowner and Serf." In Chekhov's works we find the full panoply of modern professions—lawyers, doctors, engineers, industrialists, traveling salesmen, factory workers. The new bourgeois ethos of "making it on your own" was beginning to influence...
(The entire section is 6513 words.)
Laurence Senelick (essay date 1994)
SOURCE: "Chekhov and the Bubble Reputation," in Chekhov Then and Now: The Reception of Chekhov in World Culture, edited by J. Douglas Clayton, Peter Lang, 1997, pp. 5-18.
[The following is the text of an address Senelick delivered at a 1994 symposium on Chekhov's reception. Senelick traces shifts in the author's reputation over the years.]
When Douglas Clayton asked me to deliver the keynote address to this illustrious assemblage, my first impulse was to entitle it "Confessions of an Inveterate Chekhovian." From my earliest memories, as the grandchild of Russian émigrés and in particular of an ochen ' kul'turnaia babushka, as a child playgoer and a child actor in a company based on the Method, I was surrounded by people who venerated Chekhov, and who thought nothing in the world more fulfilling than to be associated with a production of his plays. "Hallowed awe" is the term Ivan Voinitsky applies to his mother's infatuation with Professor Serebriakov, and it seems equally applicable here. This veneration persisted in college, three years of Russian classes culminating in the translation of Vishnevy sad. It led me, as a graduate student at Harvard, to learn from Nils Åke Nilsson a more objective, more technical approach to the works. For nearly forty years, I have translated Chekhov, written about him from the standpoint of a theatre historian, a literary critic, a biographer,...
(The entire section is 5762 words.)
Source: Drama Criticism, ©1999 Gale Cengage. All Rights Reserved. Full copyright.


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The MAROON Loyola University New Orleans VOL. 79, NO. 01 TUESDAY, AUGUST 29, 2000 MAROON.LOYNO.EDU A Stepping Stone? By Jim Gunter Staff writer Construction in the paved circle outside the Danna Center is a sign of changes to come. Plans for a major redesign of the Peace Quad are being reviewed, according to the Rev. Bernard Knoth, S.J., university president. Knoth first publicly announced the plans at a faculty convocation on August 21 and said he hoped to have plans posted on Loyola's Web site by the end of the month. "What I want to do is go through a campuswide consultation, like we did when we changed the stationery, or when we went through the design of the campus master plan," Knoth said. Although final construction may be months or even years away, depending on how soon funding for the project is secured, Knoth said the plan is to bring out the history of the Jesuit martyrs whom the quad commemorates. The Peace Quad received its name in 1990 to commemorate the 1989 killings of six Jesuit priests, their housekeeper and her daughter in El Salvador. Under the quad's current set-up, five trees line the west side, with another three along the central path. Each memorial tree has a plaque honoring a martyr. "There are a lot of students who come through here who do not know at first that it's called the Peace Quad and once they know it's called the Peace Quad they don't know why," he said. A marker under the large, crooked elm tree near the quad's center memorializes the eight victims. "One person ... thought that [it] was a pet cemetery," Knoth said. The proposed design calls for brick pathways to form a circle around a 17-foot obelisk in the quad's center. A cross will top the obelisk. The obelisk will rest upon three granile steps and will be inscribed with the names of all eight victims. The obelisk's designer is Jos6 Maria Cundfn. a Basque Spaniard known internationally for his paintings, obelisks and other works, including coordinating a hand engraving of the Declaration of Independence in 1992. Knoth said the plan calls for keeping the memorial trees in the quad, though the ones along the central path will be relocated or replaced to create a larger open space. According to Knoth, the renovations, minus the cost of the obelisk, will total approximately $180,000. Knoth said that although no plans for financing the project were confirmed, he hopes STAFF PHOTO Bf EUZABETH STUART Biever reopens with a new look By Anthony Fulgieri .Staff writer After being closed for 15 months Biever Hall re-opened Friday after undergoing a $5 million renovation. The building has received a facelift, and officials say students can look forward to a comfortable future. Biever Hall now features movable furniture, new desks and dual phone jacks. Each room has its own thermostat for heating and air conditioning. In addition, each floor now has its own kitchen. Bathrooms were completely revamped, bringing the showers and toilet facilities into one room. These are major overhauls for a building which has housed students for nearly 36 years. So far there have been no problems with the residence hall, according to Robert Reed, director of Residential Life. "I think its going to be smooth." he said. "1 feel better about this building than I did about the New Residence Hall." Still, Reed said there might be some glitches with cable, telephone or Internet service, though such problems are normal. According to Kristen Mclntyre, international business junior and resident assistant in Biever, there have been no problems since she has moved in. Mclntrye, like many, was happy about the opening of the hall. "I lived here freshman year; I loved it, and I am very excited about it," Mclntyre said. "Everything is working really well, better than 1 thought," she added. The Rev. Bernard Knoth S.J., university president, said there are a few minor items that need to be worked out but is nonetheless satisfied with the final result. "The final product is comfortable, modern, energy efficient and has a high level of convenience for the students," Knoth said. Four Loyola Jesuits celebrate anniversaries with Mass By Patrick Cousins Contributing writer The New Orleans Province of the Society of Jesus celebrated a Mass for its Jubilarians July 30 at Immaculate Conception Church on Baronne Street. This year four Jesuits living at Loyola celebrated anniversaries. The Rev. Ernest Ferlita, S.J., drama professor, and the Rev. Paul Schott, S.J., assistant pastor of The Most Holy Name of Jesus parish, are celebrating 50 years in the Jesuit order. Also, the Rev. Edward Arroyo, S.J., and the Rev. Clyde Leblanc, S.J., are celebrating 25-year anniversaries of their ordination to the priesthood. Arroyo is the editor of the Blueprint for Social Justice. Leblanc recently completed an assignment as the director of the Loyola Jesuit Center. According to the July 20 issue of The Clarion- Herald, Leblanc has begun a year-long sabbatical program at the Jesuit School of Theology in Berkeley, Calif. When asked about his fifty years as a Jesuit, Ferlita said that he enjoyed working for what the Jesuits are about, being "men for others," and that living in the community has been rooted in good relationships with other Jesuits. He said that young people who want to work on behalf of others should consider religious life. Arroyo referred to his personal Web page for his view on celebrating his Jubilee. "In professing what seem to be very restrictive vows ... there has been an amazing amount of freedom, flexibility, mobility. "Perhaps the greatest paradox, surprise, struggle has been that God has called and graced me in this way, despite my many failings and inadequacies," the Web page said. A Mass celebrating Schott's Jubilee anniversary will be held Sept. 10 at 10:30 a.m. at Holy Name church. FERLITA LEBLANC SCHOTT See QUAD, Page 3 See BIEVER, Page 5 =7= SPECIAL TUESDAY EDITION sap°rl® i i LIFE & T|MES A LOOK AT WOLFPAC&-Lq A SPECIAL GUIDE FOR ATHLETICS W 7 GOOD EATS AND MEETS Pages 14-15 foS V.X. D on $C£e pages 8-9 FR©AY: Tulane/Loyola book sharing aids student research
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Title | Maroon |
Masthead | The Maroon Vol. 79 No. 1 |
Publisher | Loyola University (New Orleans, La.) |
Coverage | United States; Louisiana; New Orleans; |
Date | 2000-08-29 |
Type | Text |
Source | Loyola University New Orleans Special Collections & Archives (http://library.loyno.edu/research/speccoll/) New Orleans, LA |
Format | TIFF |
Subject | Loyola University (New Orleans, La.) |
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Many of today's market analysis platforms enable traders to evaluate both actual and theoretical trading activity by generating a strategy performance report — an objective evaluation of a trading strategy's performance. A strategy is a set of precise rules used to enter and exit the market, and strategy development involves defining those rules by using historical backtesting, optimization and forward testing to determine the most effective and potentially profitable parameters for the system. The report estimates how well a strategy should work.
A strategy performance report is a vital component of the process that helps traders identify the strengths and weaknesses of a system, and quantify the system's viability using a series of mathematically based performance metrics.
Quite often, even experienced traders fall into an analysis rut, relying on the same numbers and interpretations to evaluate their trading systems. For all of us, beginning and experienced traders alike, it's helpful to step back and reconsider what our system reports are telling us.
Natural selection
There are dozens of performance metrics that can be used to evaluate a strategy, and traders often develop a preference for the metrics each finds most useful to his or her own trading style and goals. "Performance snapshot" (below) shows an example of the summary page of a strategy performance report, which includes an overview of all trading activity for the specified period.
Using a performance report effectively is not always straightforward. While it is exciting to zoom in on metrics such as total net profit or percent profitable, each metric alone does not provide a comprehensive view of the strategy. Consider, for example, a strategy that boasts a 90% profitable statistic, meaning that 90% of the completed trades during the specified period made money. While this appears to be good news at first, it does not provide a clear picture of the strategy's performance.
A deeper analysis would consider factors such as the size of each winning and losing trade. In an extreme case, if 90% of the trades had an average winning trade of $5, and the remaining 10% of trades had an average losing trade of $500, it would be a losing system.
As another example, a strategy performance report could indicate that a system has a total net profit of $800,000. That might be an encouraging figure, but traders also must consider the maximum drawdown or the account size required values to determine how much money is needed to make that $800,000. It could be that the trader would need a much larger account, or would need to sustain greater losses than is comfortable, to trade the strategy.
The metrics have to be considered separately as well as collectively to produce an accurate assessment of the system's performance.
Key metrics
"Common measures" (click here) shows a list of commonly used performance metrics. Seven metrics in particular provide a good starting point for testing a potential trading system or evaluating a live trading system:
1) Total net profit
The total net profit typically is the metric that appears at the top of a strategy performance report, and represents the bottom line for a trading system during a specified period. It is calculated by subtracting the gross loss of all losing trades (including commissions) from the gross profit of all winning trades:
Total net profit = Gross profit – Gross loss
While it is common to focus backtesting efforts on increasing this number, the metric alone can be deceptive. The total net profit provides no indication that a system is performing efficiently, and it does not represent the amount of risk to which a trader would be exposed through implementing the system. Other metrics should be viewed along with the total net profit value to evaluate the strategy accurately.
2) Profit factor
Another statistic that garners lots of attention is the profit factor. This value relates the amount of profit per unit of risk, where values greater than one indicate a profitable system. It is calculated by dividing the gross profit by the gross loss:
Profit factor = Gross profit / Gross loss
In theory, this value should be as high as possible. In reality, however, extremely high profit factors during testing rarely correlate in live trading. Many successful trading plans have profit factors that come in over 1.5 and perhaps even as high as 5.0 in extreme cases.
Rather than an outright high number, traders should look for consistency over time, regardless of the trading period, when comparing profit factor values. In other words, a system has a better chance of performing well during live trading if the profit factor values show positive correlation over different time periods. The profit factor should not change dramatically from one time period to another. If it does, it's a sign the trading system is not reliable.
3) Percent profitable
The percent profitable metric also is known as the probability of winning, and is calculated by dividing the number of winning trades by the total number of trades for a specified period:
Percent profitable = Number of winning trades / Number of total trades
Again, in theory, this value should be as high as possible. Trading style and strategy type, however, are factors that affect the ideal percent profitable value. Trend-following strategies, for example, tend to have lower percent profitable values — perhaps even as low as 40% —because the trades that do win are typically quite large, and any losing trades are usually closed for a small loss.
Scalping strategies, by comparison, typically rely on winning small amounts of money while risking similar amounts on any one trade. A scalping strategy may generate dozens of trades each trading session. Because each win is relatively small, and each loss tends to be close in value to the winners, the system requires a higher percent profitable value to make money over time. Like the profit factor, percent profitable values should remain fairly consistent across various periods.
4) Average trade net profit
The average trade net profit is the expectancy of the system, and represents the average amount of money that was won or lost on each trade during the specified period. It is calculated by dividing the total net profit by the total number of trades:
Average trade net profit = Total net profit / Total number of trades
This metric shows the average profit the trader can expect each trade to make over time. Position sizing will affect this value because larger positions will multiply the value. Using consistent position sizing during testing will help traders accurately compare systems and/or optimizations.
Another consideration is the outlier — a trade that creates a profit or loss that falls outside the statistical average or norm for the system. An outlier can inflate the average trade net profit falsely, making the system appear far more profitable than it really is. Outliers can be removed to show more realistic results. Trading plans that rely on one or two unusually large wins may prove to be unreliable or unprofitable in live trading.
5) Maximum drawdown
The maximum drawdown is the worst-case scenario for a trading period, and measures the greatest loss from a previous equity peak. The metric helps measure risk, and determines the account size that would be necessary to trade a specific strategy. Ideally, the maximum drawdown would be as small as possible; however, all trading systems have losing trades and there will be the inevitable drawdown. The maximum drawdown should never be greater than the amount of money that a trader is willing to risk.
Maximum drawdown is one of the most important metrics because it estimates immediately whether a trading system is appropriate or even possible for a trader (based on risk and account size).
6) Buy-and-hold return
The buy-and-hold return displays the percentage return of holding the commodity or security in a long position for the entire testing period. This metric should be compared with the annual rate of return for the strategy. It helps traders evaluate if a system outperforms a buy-and-hold strategy. Additional effort and costs are associated with executing multiple trades (dozens, hundreds or even thousands) over a specified period vs. a single buy-and-hold trade. The strategy's annual rate of return should more than justify the extra time and costs (fees and commissions).
However, this statistic should be evaluated in the context of the time the strategy spends in the market. The reason is while a strategy is out of the market, with funds invested in Treasury bills or cash, downside risk effectively is eliminated. All else equal, less time in the market is preferred. So, for some traders, a strategy that makes 80% of buy-and-hold but spends 60% of its time in T-bills may be the better answer for a specific trader on a risk-adjusted basis.
7) Equity curve
Strategy performance reports include a performance graph, or equity curve, that provides a visual representation of the system's gains and losses. Traders can tell at a glance if the system is performing well, or if its performance has changed significantly over time. Ideally, an equity curve is as straight as possible while consistently climbing over time (see "Up and steady," below).
With all of these performance measures, it is vital to test both in- and out-of-sample data to ensure that the system is not a victim of curve-fitting, or over-fitting as trader Bill Eckhardt calls it. Curve-fitting involves tweaking a system to the point that it is extremely profitable on the set of historical price data you are testing rather than optimizing the strategy as a whole. These systems typically fall apart during live trading. Performance measures and equity curves that remain consistent throughout in- and out-of-sample testing help verify a system's potential.
Traders today can take advantage of the powerful tools offered by many market analysis platforms. When developing a trading strategy, or evaluating live performance, a strategy performance report provides important data regarding the system's efficiency and potential profitability, but like all tools it must be used correctly.
While traders will gravitate toward specific metrics within the strategy performance report, it is important to view metrics collectively because the real meaning of each is shown only when compared with other measures. In addition, comparing the data over different trading periods (using in-sample and out-of-sample data, for example) can provide a more accurate assessment of the strategy's potential.
Jean Folger is the co-founder of, and system researcher with, PowerZone Trading, LLC. She can be reached at www.powerzonetrading.com.


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Climb aboard Journey to Atlantis®, a water ride that combines soaking flume fun, thrilling coaster action and amazing special effects as you journey to a lost civilization—a journey that begins with a splashy 60-foot plunge and ends face-to-face with fascinating sea animals.
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SOURCE Summit Entertainment, a LIONSGATE(R) company
Event Celebrates The 5th Anniversary of Summit Entertainment's Blockbuster Epic And The Eagerly Anticipated DVD And Blu-ray Box Set Release of Twilight Forever: The Complete Saga
Two Days Of Fan Festivities Are Open To The Public Including A Complete Twilight Saga Marathon Of All 5 Films, Unveiling Of The Twilight Movie Props Exhibit, Along With Special Appearances, Events & Giveaways
SANTA MONICA, Calif., Oct. 21, 2013 /PRNewswire/ -- Summit Entertainment, a LIONSGATE® (NYSE: LGF) company, and Planet Hollywood International have joined together to create The Twilight Forever Fan Experience, a unique event commemorating the fifth anniversary of The Twilight Saga's original theatrical debut and the eagerly anticipated November 5th launch of Twilight Forever: The Complete Saga on Blu-ray and DVD. The festivities will kick off Sunday, November 3rd with a two-day celebration featuring exclusive events for fans in New York City. Attendance is open to the public on a first come, first served basis. RSVP details will be available at https://www.facebook.com/twilight and http://www.twitter.com/twilight.
(Logo: http://photos.prnewswire.com/prnh/20131021/LA01008LOGO)
The Twilight Forever Fan Experience begins with a marathon screening of all five films in Summit's Twilight Saga franchise, including the extended version of The Twilight Saga: Breaking Dawn – Part 1 which will screen theatrically for the first time ever. The event starts at 9:00 a.m. on November 3rd at New York's Regal E-Walk Stadium 13 Cineplex (247 W. 42nd St., New York, NY 10036), and also features special appearances (to be announced), exclusive prizes and giveaways.
On Monday, November 4th, Planet Hollywood Times Square (1540 Broadway, New York, NY 10036) will host an exclusive fan celebration to unveil its new Twilight Forever Fan Experience exhibit, where props from all of the films-including Bella's wedding dress, Edward's tuxedo and Jacob's motorcycle-will be on display to the public. The evening event encompasses musical performances and special guest appearances (to be announced), fan contests (to be announced), photo opportunities and exclusive prizes and giveaways.
Below is the timeline of The Twilight Forever Fan Experience (times and events subject to change):
Sunday, November 3 – Twilight Forever Fan Experience Marathon
Location: |
Regal E-Walk Stadium 13 Cineplex, 247 W. 42nd St., New York, NY 10036 |
Time: |
Films include: |
Twilight (122 minutes) |
The Twilight Saga: New Moon (130 minutes) | |
The Twilight Saga: Eclipse (124 minutes) | |
The Twilight Saga: Breaking Dawn – Part 1 Extended Edition (124 minutes) | |
The Twilight Saga: Breaking Dawn – Part 2 (115 minutes) |
Monday, November 4 – Twilight Forever Fan Experience Exhibit Launch
Location: |
Planet Hollywood, 1540 Broadway, New York, NY 10036 |
Time: |
Appearances & Events: TBA |
Twilight Forever: The Complete Saga encompasses all five films, over 2 hours of brand new exclusive content and over 10 hours of every special feature ever created for the multi-billion dollar franchise. The ultimate collector's set, this is an immersive experience for every Twilight fan to recapture and relive the most epic romance of the century. Twilight Forever: The Complete Saga is available as a 10-disc Blu-ray (plus Digital HD UltraViolet) set for the suggested retail price of $74.99, and as a 12-disc DVD (plus Digital UltraViolet) set for $64.98, both debuting November 5, 2013 from Summit Entertainment, a LIONSGATE company. For artwork, please visit www.lionsgatepublicity.com
About THE TWILIGHT SAGA film series
THE TWILIGHT SAGA film series stars Kristen Stewart, Robert Pattinson and Taylor Lautner and tells the story of 17-year-old Bella Swan who moves to the small town of Forks, Washington to live with her father, and becomes drawn to Edward Cullen, a pale, mysterious classmate who seems determined to push her away. But neither can deny the attraction that pulls them together...even when Edward confides that he and his family are vampires. The action-packed, modern day vampire love story Twilight, the first film in the series, was released in theatres on November 21, 2008 to a blockbuster reception. The second installment of the film franchise, The Twilight Saga: New Moon, was released November 20, 2009, followed by the third installment The Twilight Saga: Eclipse on June 30, 2010. The final two installments, The Twilight Saga: Breaking Dawn – Parts 1 & 2, were released on November 18, 2011 and November 16, 2012 respectively. All films, which together grossed more than $3.3 billion at the worldwide box office, were written by Melissa Rosenberg based on the novels in author Stephenie Meyer's "Twilight" series.
About Lionsgate
Lionsgate is a leading global entertainment company with a strong and diversified presence in motion picture production and distribution, television programming and syndication, home entertainment, family entertainment, digital distribution, new channel platforms and international distribution and sales. Lionsgate currently has 30 television shows on 20 different networks spanning its primetime production, distribution and syndication businesses, including such critically-acclaimed hits as the multiple Emmy Award-winning Mad Men and Nurse Jackie, the comedy Anger Management, the network series Nashville, the syndication success The Wendy Williams Show and the critically-acclaimed new series Orange Is The New Black.
Its feature film business has been fueled by such recent successes as the blockbuster first installment of The Hunger Games franchise, The Twilight Saga Breaking Dawn – Part 2, Now You See Me, Kevin Hart: Let Me Explain, Warm Bodies, Snitch, Texas Chainsaw 3D, The Expendables 2, The Possession, Sinister, Arbitrage and Pantelion Films' breakout hit Instructions Not Included, the highest-grossing Spanish-language film ever in the U.S.
Lionsgate's home entertainment business is an industry leader in box office-to-DVD and box office-to-VOD revenue conversion rate. Lionsgate handles a prestigious and prolific library of approximately 15,000 motion picture and television titles that is an important source of recurring revenue and serves as the foundation for the growth of the Company's core businesses. The Lionsgate and Summit brands remain synonymous with original, daring, quality entertainment in markets around the world.
For further information, please contact: |
Jennifer Sandler |
Heather Forziati & Annalee Paulo |
Lionsgate |
42West |
310.255.4072 |
310.477.4442 |
©2012 PR Newswire. All Rights Reserved.


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$34.95 $23.00


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On Stack Exchange, we believe the core moderators should come from the community, and be elected by the community itself through popular vote. We hold regular elections to determine who these community moderators will be.
Community moderators are accorded the highest level of privilege on our community, and should themselves be exemplars of positive behavior and leaders within the community.
Our general criteria for moderators is as follows:
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One small take from the short: http://brainspasm.com/red/DejaVecu/DejaVecu_shot1.mov
Since I continue to receive questions about whether the fans on #27 work, let it be well known that this report was many months ago and 100% of the problems reported no longer apply, including the fan issue, which Red fixed less than 48 hours after this shoot wrapped.
After a week and a half of test shooting, I was ready for the maiden production voyage of Red #27. The shoot was a narrative short film titled 'Deja Vecu'. It was a script I wrote about 6 months ago shortly after the birth of my son. It's part 1 of a thematic trilogy dealing with different dynamics of the father-son relationship. It was a story I felt so good about that I was waiting for Red to shoot it. I originally had the crew lined up for June 16th (scheduled around NAB) and everyone's been on hold since then. Once I received word I was getting it, I put things in motion for this shoot. We filmed the whole BTS with the Sony Z1u for a Red production dvd we are producing.
The shoot was 4 pages long and had 4 locations: a bedroom, kitchen, front lawn and curbside.
Let's summarize from the top (I hate waiting until the end myself): Red looked gorgeous, ran until the end of the day and the crew was ecstatic seeing some clips from a laptop after we had wrapped.
Okay, now let's get into it.
For camera configuration we had a series of make-dos and compromises. I bought a nice Arriflex FF-2 double sided follow focus but because it was 15mm with 100mm offset, I could not get it to work with my configuration, since my matte box is a 15mm with 60mm offset and I still need the 19mm rods from the production pack. Dang it! I'm now planning on taking it to a machine shop and getting it permanently configured for my Red (by having the rod holders of the FF sawed off and then I'll bolt it to the Red Universal Mount). But in the meantime we needed something NOW and so we used the Redrock FF that the DP owned. I'd love the Redrock to be as good, but it just isn't. It had like 1/4" of play in it, the AC wasn't happy, but we had no choice.
What you see in the pics below is my novel way of rigging the basic production pack. Except for the 15mm rods and that adapter, everything on the Red is the basic prod pack. I found I could mount the battery/drive chasis to the top mount and then mount the handle vertically on the side. It's gimpy, but it works. Then I could take the handle plate off and mount the LCD directly on to that. I ordered an EVF but those aren't available yet, so we have a loaner LCD. We're in the process of getting top rails and a side handle and so forth, but haven't gotten there yet.
I strongly disliked having the LCD as the only viewer. Since the HD-SDI and HDMI cannot be active while the LCD is, I had to only use the LCD and forgoe the director's monitor.
On to the issues of the day, the one potentially fatal one for me.
We couldn't get the fans to shut up. At all. The "silent when recording" would only work for the first minute then it would be raging full blast fans for the entire time. We kept watching the heat readout and it was green 'OK' the entire time.
We then used some washrags to muffle the sound in a desperate attempt but it didn't work, the audio sucks. You hear dialogue that sounds like they were standing in a server room. My sound mixer kept telling me that it sounded like a "jet engine" was in the room (we were in a kitchen). I kept repeatedly setting the Fan to 'Silent' and that would only work the first time after a reboot and then it was all full blast hot.
Anyone want to listen to it? Anyone a wizard in post and can either filter it themselves or tell me what FCP or ProTools settings to use?
On the second one there is about 20 seconds of mostly silence and crew mumblings, we were waiting for a clock to change, but you can sure hear the fan.
Okay, now Red has been awesome in the customer support on this. Jim himself has emailed me multiple times, admitting the problem and saying they've already fixed it and that it's in the next build.
One time I had a minor delay rebooting the camera and put some frozen peas on it. I don't think anything is wrong with my Red and don't think it had anything to do with heat.
In conclusion I absolutely love the camera and except for the fans, I'd have an excellent short on my hands. The shots look great, the acting was great, etc. The BTS will definitely be worth checking out when we get that DVD together.
Thanks for looking!


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Mount Sinai is home to an extensive array of top-notch research centers, programs, and labs, where scientists and researchers translate advances in basic science into innovative patient care. Read More
Kidney Damage in First Responders Linked to September 11 November 9, 2013 - For the first time, researchers have linked high levels of inhaled particulate matter by first responders at Ground Zero to kidney damage.
Researchers at Mount Sinai Say a New Strain of Bird Flu Packs a Punch Even After It Becomes Resistant to Drugs December 10, 2013 - Study reveals that the drug-resistant strain retains its ability to replicate and cause severe illness.
American College of Cardiology 46th New York Cardiovascular Symposium December 13-15 Led by Dr. Valentin Fuster December 9, 2013 - As one of the most prestigious cardiology events in the world, it will review and highlight latest advances in cardiology in 2013 and the next big things in 2014.


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I never have to resort to that, if im too hungy ill just go buy something-_-. #firstworld not problems
No hashtag like you do when you twat about something. Get off my PD.
Your an absolutely wonderful man, any girl that is yours is lucky and I know that from personal experience. ~KMT
now I'm hungry for hash browns..l
You obviously like owls; scientific wild assed guess.
Owls are awesome


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Miss Hardy and Nelms to exchange vows September 29 at Broadmoor Baptist
This entire article is available to all Northside Sun print and web subscribers. If you are already a subscriber to the newspaper, please complete a short one-time registration and get a self-selected user ID and password. This will give you immediate access. In the future, simply log in using your user ID and password. To register or log in, click HERE.
If you would like to subscribe to the Northside Sun, a subscription can be purchased by clicking HERE. All Northside Sun subscribers receive a weekly printed copy and full access to our website.
Barry E. Hardy and Debbie Y. Hardy announce the engagement of their daughter, Amy Lynn Hardy, to Bryan Weeks Nelms, son of Mr. and Mrs. Stephen M. Caldwell.
The bride-elect is the granddaughter of Frank M. Youngblood Sr. and the late Beverly B. Youngblood of Jackson, and the Rev. William E. Hardy and the late Barbara G. Hardy of Clinton.
Miss Hardy is a 2002 graduate of Jackson Academy. She was graduated from Mississippi College in 2006 with a bachelor's degree in nursing. She is a registered nurse with NewSouth NeuroSpine in Flowood.


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U.S. Cyclocross National Championships
A few weeks ago we here at the Rapha North America put on a little Cross ride with Cannondale/Cyclocrossworld racer Tim Johnson. It was a short Friday morning ride around Forest Park which would be his warmup for that weekend's USGP races in Portland. It was also a great opener for this weekend and the US Cyclocross Nationals in nearby Bend, Oregon.
It was great to see what Bend had put together during the weekend. The whole town came out to support and final numbers put the spectator count up around 5,000 people.
The other exciting part about it was that our new National Champion is that very same Tim Johnson. He was all business as he took to the start line this past Sunday afternoon. The setting sun would make conditions difficult for more than one rider that day, causing the ground to freeze and lines to disappear as they raced from one section of the course to the next.
But, just so you know, Tim isn't the only one on the Cannondale/Cyclocrossworld team. I caught Jeremy Powers and Jamey Driscoll as they prepped to test out the course this past weekend. Together with Tim these three have been quite literally dominating the North American scene this season. And it looks like his campaign will continue in Europe over the course of the next few weeks.
Then, just when you thought Cross was over we will look to the World Championship race in Tabor, Czech Republic where the Cannondale Gentlemen will look to hash it out with the best of the rest. My guess is that this crew will be ready after their experiences this past weekend in the frozen tundra that was Bend.
So, a big congratulations to Tim Johnson, our current Cyclocross National Champion, from all of us at Rapha and good luck to these guys as they head to Europe.
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