A Tragic Actor (Chekhov)
Short summary
Russia, late 19th century. During a theatrical performance of "Prince Serebryany," Masha Sidoretsky, a police captain's daughter, attended the theater for the first time and was captivated by the tragic actor Fenogenov's dramatic performance.
Enchanted, Masha convinced her father to invite the actors to dinner. The police captain invited only the male actors, as he had a daughter. The actors began visiting frequently, and Masha fell in love with Fenogenov. She eventually ran away with the theater company and married him.
Fenogenov had married Masha for her father's money, but the police captain disowned his daughter. Soon after, Fenogenov began beating Masha. When the company tried to abandon her, she followed them, begging to stay. They kept her as a minor actress, and after another actress eloped, Masha was promoted to ingénue despite her poor acting.
During a performance of Schiller's "Robbers," Masha played Amalie opposite Fenogenov's Franz. In the scene where she was supposed to repulse him,
And Masha, instead of repulsing him and crying "Hence!" trembled in his arms like a bird and did not move... she seemed petrified. "Have pity on me!" she whispered in his ear. "Oh, have pity on me! I am so miserable!"
After the performance, the manager criticized Masha's acting. The next morning, Masha sat in a shop writing to her father: "Papa, he beats me! Forgive us! Send us some money!"
Detailed summary
Division into chapters is editorial.
Fenogenovs performance and Mashas first theater experience
During Fenogenov's benefit night, the acting company performed "Prince Serebryany." Fenogenov played the role of Vyazemsky, while Limonadov performed as Morozov and Madame Beobahtov as Elena. The performance was a tremendous success, with Fenogenov's dramatic acting drawing enthusiastic responses from the audience.
The tragedian accomplished wonders indeed. When he was carrying off Elena, he held her in one hand above his head as he dashed across the stage. He shouted, hissed, banged with his feet, tore his coat across his chest.
Among the audience members was Masha, the police captain Sidoretsky's daughter, who was attending the theater for the first time in her life. She sat in the first row next to her father, completely captivated by the performance.
And if her papa had been capable of reading faces he would have read on his daughter's pale little countenance a rapture that was almost anguish. She was overcome by the acting, by the play, by the surroundings.
During the last interval, Masha asked her father to invite all the actors to dinner the next day. The police captain went backstage, complimented the performers, and extended the invitation, though he specified that he only wanted the male actors because he had a daughter.
Mashas growing fascination with the actors
The following day, only three actors came to dinner at the police captain's home: the manager Limonadov, the tragedian Fenogenov, and the comic actor Vodolazov. The dinner was rather dull, with Limonadov flattering the police captain, Vodolazov mimicking merchants and Armenians, and Fenogenov reciting dramatic monologues.
Despite the actors' shortcomings, including Limonadov's smell of burnt feathers and Fenogenov's hired dress coat with worn-down boots, the police captain was satisfied because they entertained his daughter. Masha was enthralled by these performers, whom she considered exceptionally clever people.
That evening, Masha and her father attended the theater again. A week later, the actors returned to dine at their home, and after that, they began visiting almost daily for dinner or supper. Masha became increasingly devoted to the theater, attending every evening. Eventually, she fell in love with Fenogenov, the tragedian.
Mashas elopement and marriage to Fenogenov
One morning, when the police captain had gone to meet the bishop, Masha ran away with Limonadov's company and married Fenogenov during their journey. After the wedding, the actors collectively composed a letter to the police captain, with Limonadov dictating to emphasize respect and sentiment, knowing officials appreciated such gestures.
The response from Masha's father was devastating. He disowned his daughter for marrying what he called "a stupid, idle Little Russian with no fixed home or occupation." Shortly after receiving this rejection, Masha wrote to her father: "Papa, he beats me! Forgive us!"
The truth was that Fenogenov had indeed beaten Masha, doing so behind the scenes in front of Limonadov, a washerwoman, and two lighting men. He recalled how, four days before the wedding, the entire company had been at the London Tavern discussing Masha. They had encouraged him to "chance it," with Limonadov particularly enthusiastic about the financial opportunity.
"Why, for a sum like that one would go to Siberia, let alone getting married! When you marry and have a theatre of your own, take me into your company. I shan't be master then, you'll be master."
The truth about Fenogenov and the actors abuse
Fenogenov's true nature became increasingly apparent. He would mutter with clenched fists, threatening to "smash" Masha if her father didn't send money, declaring he wouldn't be made a fool of. His marriage had been purely motivated by financial gain, not by any affection for Masha.
"If he doesn't send money I'll smash her! I won't let myself be made a fool of, damn my soul!" ... Next morning, Masha was sitting in a little general shop writing: "Papa, he beats me! Forgive us! Send us some money!"
At one provincial town, the company attempted to abandon Masha, but she discovered their plan. She reached the station just as the second bell rang and all the actors had taken their seats. Fenogenov declared that he had been shamefully treated by her father and that everything was over between them.
Despite this rejection, Masha fell to her knees in the crowded carriage, extending her hands and begging him not to drive her away. She professed her love and insisted she couldn't live without him. After some consultation, the company relented and took her on as a "countess" - their term for minor actresses who appeared in crowds or silent roles.
Mashas desperate devotion despite mistreatment
Initially, Masha played maids and pages, but when Madame Beobahtov, the company's leading actress, eloped, Masha was promoted to ingénue roles. Though she acted poorly, was nervous, and lisped, the audience gradually came to like her. Fenogenov, however, was deeply displeased with her acting, criticizing her lack of figure, deportment, and talent.
In one provincial town, the company performed Schiller's "Robbers." Fenogenov played Franz, while Masha portrayed Amalie. During the scene where Franz declares his love and Amalie should seize his sword to repulse him, Masha failed to follow the script. Instead of pushing him away, she trembled in his arms and whispered, "Have pity on me! Oh, have pity on me! I am so miserable!"
"I love you! Don't drive me away, Kondraty Ivanovitch," she besought him. "I can't live without you!" They listened to her entreaties, and after consulting together, took her into the company as a "countess".
Fenogenov hissed at her that she didn't know her part and should listen to the prompter, thrusting his sword into her hand. After the performance, Limonadov and Fenogenov sat in the ticket box-office discussing Masha's poor performance. Limonadov remarked that she didn't know her lines or understand her role. Fenogenov listened, sighing and scowling.
The next morning, Masha was once again sitting in a small general shop, writing the same desperate plea to her father: "Papa, he beats me! Forgive us! Send us some money!" Her tragic situation continued, trapped in an abusive marriage with a man who had married her solely for financial gain.