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Anna Karenina (Leo Tolstoy)
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More than anything else in Anna Karenina, Anna's suicide casts a shadow over the entire novel because it both invites and ultimately escapes interpretation. To the society that scorns her for her affair, her death is due punishment. Anna's plea for forgiveness "for everything" just before she dies suggests her own sense of guilt—though it does not adhere to some specific act—and perhaps a belief that justice is at hand. Yet a moment earlier "she was horrified at what she was doing" (p. 768). Does she understand what brings her to this end?
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The next scene finds both Anna and Karenin writing and/or reading letters as the revolving stage brings them in and out of audience focus in another split set scene. Anna, dressed in a pure white elegant gown, sitting at her white desk writing a desperate plea to Karenin, begging to be allowed to see her son again. In contrast, Karenin, dressed in his black suit, sitting on his dark desk, reads such plea and is about to give in before taking advise against it from his sister Lydia.
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This summer Oprah chose Anna Karenina by Leo Tolstoy as her summer book club selection. This magnificent psychological novel focuses on love and marriage in 19th century Russian society. Tolstoy has written an outstanding love story as have other male authors, but women have ... had their say.
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Anna Karenina, Leo Tolstoy’s novel about a family torn apart by adultery, was first published in 1877. It was somewhat unexpected, then, in June 2004, when a softcover translation of the Russian classic debuted at number one on the New York Times Best-Seller List. Behind this renewed interest in Tolstoy stood the work of husband and wife translators Richard Pevear and Larissa Volokhonsky, whose sensitive English rendering won accolades and even the approval of Oprah, who added it to her famous book club. Preserving the cadence and emotion of Tolstoy’s style is a large part of what makes their work different. Pevear, an American poet, and Volokhonsky, a St. Petersburg native with a background in linguistics, may be the great writer’s ideal translators. Reached at their summer home in Burgundy, France, hard at work on Tolstoy’s other sprawling masterwork, War and Peace (due out in 2007), the couple discusses battles with editors, how they started and how to listen to a complex voice.
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We’re introduced to Anna Karenina, played marvelously by Soprano Kelly Kaduce, who has arrived at the Moscow train station in December, on her way to her brother Stiva’s house. There, she witnesses the horrible death of a man who commits suicide by jumping in front of a train. Anna and all other bystanders are shocked by the incident, as they go about their business in complete silence, accompanied only by the haunting score. Among the bystanders, front stage left, an elegant dowager is consoled and helped across the length of the train station by her young companion; this gracious lady is played by none other than Carnival Center Benefactor Dolores Ziff, in a brief cameo appearance.
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Anna Karenina, Leo Tolstoy's seemingly immortal tale of forbidden love in Czarist Russia, has been told many times and in many languages and formats (including a 10-part BBC miniseries). Most recently, it was done as a feature film in 1997. Nevertheless, it was a bit of a surprise when CBS announced its intention to produce a lavish three-hour version of this classic for commercial television in the mid-1980's. The bold project was sufficiently attractive that both Jacqueline Bisset and Christopher Reeve were persuaded to make their to make their prime-time television debuts in this film which first aired on Tuesday, March 26, 1985.
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Anna Karenina (Leo Tolstoy)