Chekhov's dramaturgy is a revolutionary breakthrough in the history of the Russian theater. The writer departed from the classical tradition and began to create in line with modernism, experimenting with the form and content of his works. One such example is a play dedicated to the bleak life and existential rebellion of Ivan Voinitsky.

In 1889, the playwright writes the comedy Leshy, but soon decides to radically remake the play. Although it had already been staged in this form, and the premiere was successful, the author was not satisfied with the result. Something "Leshy" was clearly missing. This is how the version known to us "Uncle Vanya" appears. Chekhov finally completed the work in 1896.

Excerpts from Chekhov's diary were widely used in the new text. He brought observations from life there, and then transferred them to artistic reality. In addition, he completely changed the structure of the play. So, the story of the creation of Uncle Vanya began with Leshy. "The First Pancake" seemed to him an unsuccessful work, so he immediately removed it from the repertoire after the premiere, and made something new, original out of it, what critics would later call "Chekhov's best work." But it won't be right away. The author's fresh look at the theater was scolded and not accepted in society: the production of The Seagull, for example, failed in the same 1896. After that, the writer decided to remake "Uncle Vanya" into a story, but hesitated, and it was already published in the form of a play. However, despite a resonant and controversial career as a playwright, offers began to flock to him to stage a new comedy.

In Sumy, they can point you to the heroes of Chekhov ... They will name Sonya, Professor Serebryakov, Waffle ...

MP Chekhov saw their sister Maria Pavlovna in Serebryakov's daughter. He reports his conjectures in the epistolary genre:

Oh, what an excellent play! As much as I don't like "Ivanov", I like "Vanya" so much. What a great end! And how in this play I saw our dear, poor, selfless Masheta!

V. Ya. Lakshin claims that Serebryakov is the spitting image of the populist S. N. Yuzhakov.

The meaning of the title of the work indicates the simplicity, ordinariness, ordinariness of the depicted tragedy. Ivan Petrovich remained "Uncle Vanya", realizing himself only as a family member and guardian of his niece. Only for Sonya did he exist as a person. Everyone else saw him solely as a clerk. The hero simply did not deserve to be called anything else in their eyes. In this non-recognition, the psychological drama of the protagonist is hidden, which was resolved by a shot, a miss and humility on the verge of despair.

Main issues

In the play "Uncle Vanya" the problem of ecology is especially acute. The author's views on it are conveyed to the reader by Astrov, a subtle connoisseur of nature and a romantic at heart. He is outraged that forests are cut down for profit, and not for the benefit of people. They do not get better from progress: typhus is still common, children live in poverty, their mothers get sick, and fathers overwork and die in overwork. The social problems of the population are not solved, but the financial interests of the masters are satisfied uncompromisingly.

The hero sincerely worries about the death of the charm of all living things and the inner beauty of the soul. Between them, he sees an indissoluble bond. Progress promises only the comfort of existence, but not the energy of life that people draw from nature.

Also obvious is the problem of disappointment in the ideal and vain service to a false goal. The realization of the futility of worship before an insignificant idol caught the hero by surprise, and at an age when nothing can be corrected. He could not throw off this ministry even in the extreme degree of disappointment. The imaginary chosenness enslaved his will, and he realized that life can no longer be turned back, which means that nothing should be changed. The hero lost faith in himself - and this is a psychological problem, a midlife crisis. Critically evaluating himself, he realized his insignificance and ... submitted to him.

The problem of spiritual poverty and practical inactivity, inherent in the nobility, also did not go unnoticed in the comedy Uncle Vanya. In the images of Elena and her husband, the author exposes sybaritism and inner emptiness, which are covered by one arrogance. In such tones, the “support of the state” and “pride of the country”, the nobility are depicted. Chekhov fears that such "supports" only undermine the foundations of statehood and cannot be useful to his country.

Subject

The semantic richness of Anton Pavlovich's drama is a unique feature of his work. Therefore, the range of topics covered by him in the work is extremely wide.

The tragic self-sacrifice of a little man in the name of falseness - main topic"Uncle Vanya" Chekhov. This expresses the continuity in Russian literature, where the authors continue to describe global and universal issues from generation to generation. Akaky Akakievich from the "Overcoat" and Samson Vyrin from " stationmaster", and Makar Devushkin from Dostoevsky's Poor People. The unfortunate and underestimated destinies were defeated, but only Chekhov's Voynitsky dared to rebel. He became more relaxed than his predecessors, but still failed to bring the rebellion to its logical conclusion, since he could not overcome the natural timidity of the soul. This would be his moral downfall.
Dying beauty and its special aesthetics envelop the entire book. The theme of ecology is also connected with it. Forests are ruthlessly cut down, all living things that found shelter there die irrevocably. People like Astrov understand the enormity of this barbarous extermination of nature, they suffer along with it, but they cannot do anything.
The attitude to nature is an indicator of spiritual wealth for the author. The professor and others like him see nothing but themselves. Chekhov contrasts the indifference and selfishness of these blind men with the sensitivity, naturalness and softness of real people - Sonya, Ivan and Astrov. They hide true spiritual nobility, without which a person plunges into the abyss of selfishness and ceases to notice the world around. Losing the ability to love something other than himself, he sows only a destructive void around, comparable only to a cut down forest. After all, people also destroy nature from internal poverty.

Characters

Chekhov's list of characters is never accidental: conflict is already hidden in a dry list of names and positions, drama is already emerging. So in "Uncle Vanya" the professor contrasts with the "honest clerk" Ivan Petrovich.

Serebryakov Alexander Vladimirovich - retired professor, Sonya's father, once married to Ivan's sister.
Sofya Alexandrovna (Sonya) - Ivan Petrovich's niece, the professor's daughter, also selflessly working in the name of his prosperity.
Elena Andreevna - Serebryakov's wife, 27 years old. Sony's stepmother.
Voynitskaya Maria Vasilievna - Ivan Petrovich's mother and Sonya's grandmother.
Voynitsky Ivan Petrovich - Uncle Vanya, professor's brother-in-law and Sonya's guardian.
Astrov Mikhail Lvovich - doctor, neighbor of Voinitsky.
Telegin Ilya Ilyich - ruined landowner
Marina - elderly nanny
Employee

Characteristics of heroes

Uncle Ivan. 48-year-old Ivan Voynitsky is a meek, kind and hard-working man, but thanks to the extravagance and selfishness of his brother-in-law, he was left penniless. He directed all his efforts to help the professor in the service of science. He believed that together with him he was changing the world, making it better for people. Therefore, he can safely be called an idealist, divorced from reality. In some ways, his detachment from family squabbles, pettiness and selfishness is reminiscent of the holiness of Prince Myshkin from Dostoevsky's The Idiot: both men prefer to devote themselves to selfless service to all living things, regardless of their character. However, Ivan's illusions have dissipated, and even then he is ready to point the weapon at himself. His moral crisis goes through an acute stage painlessly thanks to the healing influence of Sonya, whose name means "wisdom" and reminds us of the same selfless heroine from Dostoevsky's Crime and Punishment.

What then did Chekhov want to convey to us? Why didn’t he help, didn’t he raise his positive characters above the cruel reality? Ivan's rebellion did not even give readers a sense of just revenge. But the essence of the finale of the play is something else: the mention of “light, beautiful, graceful life” should inspire us to look around and finally notice those who deserve it, and together with them to make the world around us better in order to come to this new life renewed people. A lot of inconspicuous workers who give all their energy for the happiness of others deserve a better share. This is a call to implement justice in life, before it's too late, and not in books, where the writer's punishment is too late anyway: it's too late for Voynitsky to start living differently.

Most of all, the author appreciates in a person the ability to create and the beauty of the soul, which are impossible without purity of thoughts. Only such a citizen can change the country for the better with his work, only such a family man is able to educate new people in joy and love, only such a person is able to develop harmoniously and inspire others to progress. This is what each of us should strive for.

Chekhov's innovation as a playwright

During his lifetime, the author was often reproached for violating the established canons of the theater. Then they blamed it, but now they praise it. For example, the innovative composition in "Uncle Vanya" - narration without dividing the play into phenomena - refers to Chekhov's discoveries. Previously, playwrights did not violate the compositional rules of design and conscientiously formed a list of characters participating in each phenomenon. Anton Pavlovich did the same, but over time he was not afraid to experiment with a conservative art form, introducing a wind of change into the Russian theater, the spirit of the era of modernism, corresponding to the times. Chekhov's innovation as a playwright was not appreciated on merit during the life of the writer, but was fully rewarded by his descendants. Thanks to him, Russian literature did not nearly lag behind the global cultural trend, even ahead of it in many ways.

As for the content, here Chekhov also reflects a new trend - the crisis of realism. In his dramas, the action dissolves into everyday life, the characters - into endless digressions from the topic, the meaning - into the deliberate absurdity of the life depicted. For example, "Uncle Vanya" - what is it about? The author depicts some kind of chaotic story without morality and ending, where a timid and meek hero, it would seem, for no reason at all, is trying to kill a relative and take possession of his wife. Logically, this is complete nonsense. But life is much broader than what we try to drive it into, and a person is sometimes driven by more subtle and less obvious mental processes that we sometimes cannot understand.

Dialogues facing nowhere also do not contribute to understanding. Chekhov's heroes speak without hearing, answering only own thoughts. Their words should not be taken literally: what is important in them is what is not said. Also hidden real conflict because the characters are not black and white. Thus, the playwright reveals the problems of the individual in the play "Uncle Vanya" in a new, non-trivial way, forcing us to perceive what is happening on stage more sharply and think more about it.

"Uncle Ivan"- play by A.P. Chekhov completed in 1896

"Uncle Vanya" main characters

Serebryakov Alexander Vladimirovich - retired professor
Sofia Alexandrovna (Sonya) - his daughter from his first marriage, Uncle Vanya's niece
Elena Andreevna - his wife, aged 27
Voynitskaya Maria Vasilievna - widow of the Privy Councilor, mother of Uncle Vanya and the professor's first wife
Voynitsky Ivan Petrovich - uncle Vanya, her son, professor's brother-in-law
Astrov Mikhail Lvovich - doctor
Telegin Ilya Ilyich - impoverished landowner
Marina - old nanny
Employee

"Uncle Vanya" summary

The action takes place in the estate of the first wife of Professor Serebryakov, where he is temporarily forced to live, unable to afford a decent city apartment. For many years, Ivan Petrovich Voinitsky, Uncle Vanya, has been looking after the estate, running the entire household. The daughter of his deceased sister and Professor Serebryakov, Sonya, helps him.

The professor himself married a young beautiful lady - Elena Andreevna, who claims that she married him for love. Elena Andreevna has a strained relationship with her stepdaughter Sonya. The old nanny, Marina, helps the family with the housework. Also in this estate lives the impoverished landowner Ilya Ilyich Telegin.

Professor Serebryakov has constant attacks of gout. Dr. Mikhail Lvovich Astrov arrives at the Serebryakov estate.

Uncle Vanya is jealous of the professor in everything and does not recognize his scholarship, although in the past he idolized him. Voinitsky confesses his love to Elena Andreevna. Elena Andreevna likes the doctor, but she also suspects that Sonya is hiding something from her in this regard. For this, Elena Andreevna decides to have a frank conversation with Astrov. He confesses to her that he has only friendly relations with Sonya, even though she loves him like a man. Astrov jokingly invites Elena Andreevna to secretly have an affair.

At this time, Professor Serebryakov gathers a family council, at which he offers family members to sell the estate. Voinitsky's father bought it for Uncle Vanya's sister - there was barely enough money, and for this Uncle Vanya renounced the inheritance. He worked tirelessly so that there were no debts, and delightedly reread the works of the professor. Voinitsky's sister bequeathed the estate to her daughter, Sonya. Uncle Vanya understands that his life has almost gone in vain - a revolt of the former weak-willed person is brewing.

A scandal breaks out in the family. In desperation, Wojnicki recalls to Serebryakov all his hardships and hardships for the sake of professorial fame and tries to shoot the professor.

Unexpectedly, the doctor discovers that a jar of morphine has disappeared from him, and, suspecting Voinitsky of this, he takes the morphine by force. The Serebryakovs immediately decide to leave the estate. Voinitsky reconciles with the professor and convinces him that he will receive the same maintenance as before. Serebryakov and Elena Andreevna leave, while Sonya and Voinitsky remain at the estate. Astrov also leaves later. Sonya and Voinitsky work in the office, writing down accounts.

Anton Pavlovich Chekhov

"Uncle Ivan"

Cloudy autumn day. In the garden, on an alley under an old poplar, a table is set for tea. At the samovar is the old nanny Marina. “Eat, father,” she offers tea to Dr. Astrov. “I don’t want something,” he replies.

Telegin appears, an impoverished landowner nicknamed Waffle, who lives on the estate in the position of taking root: “The weather is charming, the birds are singing, we all live in peace and harmony - what else do we need?” But there is no agreement and peace in the estate. “It’s not safe in this house,” Elena Andreevna, the wife of Professor Serebryakov, who arrived at the estate, will say twice.

These fragmentary replicas, outwardly not addressed to each other, enter, echoing each other, into a dialogic dispute and highlight the meaning of the tense drama experienced by the characters in the play.

Earned for ten years lived in the county, Astrov. “I don’t want anything, I don’t need anything, I don’t love anyone,” he complains to the nanny. Voinitsky has changed, broken. Previously, he, managing the estate, did not know a free minute. And now? "I<…>became worse, because I got lazy, I do nothing and only grumble like an old horseradish ... "

Voinitsky does not hide his envy of the retired professor, especially his success with women. Voinitsky's mother, Maria Vasilievna, simply adores her son-in-law, the husband of her late daughter. Voinitsky despises Serebryakov’s scientific studies: “Man<…>reads and writes about art, understanding absolutely nothing in art. Finally, he hates Serebryakov, although his hatred may seem very biased: after all, he fell in love with his beautiful wife. And Elena Andreevna reasonably reprimands Voinitsky: “There is nothing to hate Alexander for, he is the same as everyone else.”

Then Voinitsky exposes deeper and, as it seems to him, irresistible reasons for his intolerant, implacable attitude towards the ex-professor - he considers himself cruelly deceived: “I adored this professor ... I worked for him like an ox ... I was proud of him and his science, I lived and breathed it! God, what about now? ...he is nothing! Soap bubble!"

Around Serebryakov, an atmosphere of intolerance, hatred, enmity is thickening. He irritates Astrov, and even his wife can hardly stand him. Everyone somehow listened to the stated diagnosis of the disease, which struck both the heroes of the play, and all their contemporaries: “... the world is dying not from robbers, not from fires, but from hatred, enmity, from all these petty squabbles.” They, including Elena Andreevna herself, somehow forgot that Serebryakov is “just like everyone else” and, like everyone else, can count on indulgence, on a merciful attitude towards himself, especially since he suffers from gout, suffers from insomnia, is afraid of death. “Really,” he asks his wife, “I don’t have the right to a late old age, to people’s attention to myself?” Yes, one must be merciful, says Sonya, Serebryakov's daughter from her first marriage. But only the old nanny will hear this call and show genuine, sincere concern for Serebryakov: “What, father? Painfully?<…>Old, that small, I want someone to feel sorry, but no one feels sorry for the old. (He kisses Serebryakova on the shoulder.) Let's go, father, to bed ... Let's go, little one ... I'll give you linden tea, warm your legs ... I will pray to God for you ... "

But one old nanny could not and could not, of course, defuse the oppressive atmosphere fraught with misfortune. The conflict knot is tied so tightly that there is a climactic explosion. Serebryakov gathers everyone in the living room to propose for discussion the “measure” he invented: sell the low-income estate, turn the proceeds into interest-bearing papers, which would make it possible to purchase a dacha in Finland.

Voinitsky is indignant: Serebryakov allows himself to dispose of the estate, which actually and legally belongs to Sonya; he did not think about the fate of Voinitsky, who managed the estate for twenty years, receiving beggarly money for it; I didn’t even think about the fate of Maria Vasilievna, who was so selflessly devoted to the professor!

Outraged, enraged, Voinitsky shoots Serebryakov, shoots twice and misses both times.

Frightened by the mortal danger that only accidentally passed him, Serebryakov decides to return to Kharkov. He leaves for his small estate, Astrov, in order, as before, to treat peasants, to take care of the garden and forest nursery. Love intrigues fade. Elena Andreevna lacks the courage to respond to Astrov's passion for her. When parting, she, however, admits that she was carried away by the doctor, but "a little". She hugs him "impulsively", but with an eye. And Sonya is finally convinced that Astrov will not be able to love her, so ugly.

Life in the estate returns to normal. “We will live again, as it was, in the old way,” the nanny dreams. The conflict between Voinitsky and Serebryakov also remains without consequences. “You will carefully receive the same that you received,” Professor Voinitsky reassures. “Everything will be the same.” And the Astrovs and Serebryakovs did not have time to leave, as Sonya hurries Voinitsky: "Well, Uncle Vanya, let's do something." The lamp lights up, the inkwell fills up, Sonya leafs through the account book, Uncle Vanya writes one account, another: “On the second of February, twenty pounds of lean butter ...” The nanny sits in an armchair and knits, Maria Vasilyevna plunges into reading another brochure ...

It would seem that the expectations of the old nanny have come true: everything has become the old way. But the play is built in such a way that it constantly - both in big and small - deceives the expectations of both its heroes and readers. You are waiting, for example, for music from Elena Andreevna, a graduate of the conservatory (“I want to play ... I haven’t played for a long time. I will play and cry ...”), but Waffle plays the guitar ... Characters arranged in such a way, the course of plot events takes such a direction, dialogues and remarks are soldered by such semantic, often subtextual roll-calls that the traditional question “Who is to blame?” Is pushed to the periphery from the proscenium, giving way to the question “What is to blame?”. It seems to Voynitsky that Serebryakov ruined his life. He hopes to start a "new life". But Astrov dispels this “elevating deceit”: “Our position, yours and mine, is hopeless.<…>There were only two decent, intelligent people in the whole county: me and you. For some ten years, the philistine life, the despicable life, has dragged us out; she poisoned our blood with her rotten fumes, and we became the same vulgar as everyone else.

At the end of the play, however, Voinitsky and Sonya dream of the future, but Sonya’s final monologue exudes hopeless sadness and a sense of a life lived aimlessly: “We, Uncle Vanya, will live,<…>let us patiently endure the trials that fate will send us;<…>we will die humbly, and there, behind the grave, we will say that we suffered, that we cried, that we were bitter, and God will take pity on us.<…>We will hear the angels, we will see the whole sky in diamonds... We will rest! (The watchman knocks. Telegin plays softly; Maria Vasilievna writes in the margins of a pamphlet; Marina knits a stocking.) We'll rest! (The curtain is slowly lowering.)"

On a cloudy autumn day in the garden at the table, Nanny Marina gives tea to Dr. Astrov. The impoverished landowner Telegin, who lives on the estate, arrives. It celebrates the beauty of nature and harmony in life. However, Elena Andreevna, the wife of Professor Serebryakov, answers him that the house is not safe.

Astrov was tired after ten years of work in the county. The manager of the estate, Voinitsky, has also changed. He became lazy and became grouchy. Serebriakova despises Voynitsky because of his love for his wife, who can hardly bear her husband. Astrov was also annoyed by Serebryakov.

Serebryakov suffers from insomnia and is afraid of death. He dreams of a peaceful old age and the attention of others. Only his old nanny takes care of him. Serebryakov cannot stand it and decides to sell the low-income estate, and invest the proceeds in interest-bearing papers, which will allow him to purchase a dacha in Finland. He brings everyone together to discuss.

Voinitsky is indignant at the fact that Serebryakov manages the estate, which actually and legally belongs to his niece Sonya, without thinking about the fate of Voinitsky and Maria Vasilievna, selflessly devoted to him. Enraged, he fires at Serebryakov, but misses both times. Frightened Serebryakov decides to return to Kharkov. After the departure of Astrov and Serebryakov, Sonya hurries Uncle Vanya Voynitsky and he writes out bills one by one. The nanny is knitting in an armchair, and Maria Vasilievna is immersed in reading.

Anton Pavlovich Chekhov.

Telegin appears, an impoverished landowner nicknamed Vafflya, who lives on the estate in the position of taking root: “The weather is charming, the birds sing, we all live in peace and harmony - what else do we need?” But there is no agreement and peace in the estate. “It’s not safe in this house,” Elena Andreevna, the wife of Professor Serebryakov, who arrived at the estate, will say twice.

Earned for ten years lived in the county, Astrov. “I don’t want anything, I don’t need anything, I don’t love anyone,” he complains to the nanny. Voinitsky has changed, broken. Previously, he, managing the estate, did not know a free minute. And now? “I […] got worse because I got lazy, I don’t do anything and just grumble like an old horseradish…”

Voinitsky does not hide his envy of the retired professor, especially his success with women. Voinitsky's mother, Maria Vasilievna, simply adores her son-in-law, the husband of her late daughter. Voinitsky despises Serebryakov's scientific pursuits: "A person […] reads and writes about art, understanding absolutely nothing about art." Finally, he hates Serebryakov, although his hatred may seem very biased: after all, he fell in love with his beautiful wife. And Elena Andreevna reasonably reprimands Voinitsky: “There is nothing to hate Alexander for, he is the same as everyone else.”

Around Serebryakov, an atmosphere of intolerance, hatred, enmity is thickening. He irritates Astrov, and even his wife can hardly stand him. Everyone somehow listened to the stated diagnosis of the disease, which struck both the heroes of the play, and all their contemporaries: “... the world is dying not from robbers, not from fires, but from hatred, enmity, from all these petty squabbles.” They, including Elena Andreevna herself, somehow forgot that Serebryakov is “just like everyone else” and, like everyone else, can count on indulgence, on a merciful attitude towards himself, especially since he suffers from gout, suffers from insomnia, is afraid of death. “Really,” he asks his wife, “I don’t have the right to a late old age, to people’s attention to myself?” Yes, one must be merciful, says Sonya, Serebryakov's daughter from her first marriage. But only the old nanny will hear this call and show genuine, sincere concern for Serebryakov: “What, father? Painfully? […] The old and the small, I want someone to feel sorry for them, but no one feels sorry for the old. (He kisses Serebryakova on the shoulder.) Let's go, father, to bed ... Let's go, little one ... I'll give you linden tea, I'll warm your legs ... I will pray to God for you ... "

Outraged, enraged, Voinitsky shoots Serebryakov, shoots twice and misses both times.

Frightened by the mortal danger that only accidentally passed him, Serebryakov decides to return to Kharkov. He leaves for his small estate, Astrov, to, as before, treat the peasants, take care of the garden and forest nursery. Love intrigues fade. Elena Andreevna lacks the courage to respond to Astrov's passion for her. When parting, she, however, admits that she was carried away by the doctor, but "a little". She hugs him "impulsively", but with an eye. And Sonya is finally convinced that Astrov will not be able to love her, so ugly.

It would seem that the expectations of the old nanny have come true: everything has become the old way. But the play is built in such a way that it constantly - both in big and small - deceives the expectations of both its heroes and readers. For example, you are waiting for music from Elena Andreevna, a graduate of the conservatory (“I want to play ... I haven’t played for a long time. I will play and cry ...”), but Waffle plays the guitar ... The characters are arranged in such a way, the course of plot events takes such a direction, dialogues and remarks are soldered with such semantic, often subtextual echoes that the traditional question “Who is to blame?” Is pushed to the periphery from the proscenium, giving way to the question “What is to blame?”. It seems to Voynitsky that Serebryakov ruined his life. He hopes to start a "new life". But Astrov dispels this “elevating deceit”: “Our position, yours and mine, is hopeless. […] In the whole county there were only two decent, intelligent people: me and you. For some ten years, the philistine life, the despicable life, has dragged us out; she poisoned our blood with her rotten fumes, and we became the same vulgar as everyone else.

At the end of the play, however, Voinitsky and Sonya dream of the future, but Sonya’s final monologue exudes hopeless sadness and a feeling of a life lived aimlessly: “We, Uncle Vanya, will live, […] we will patiently endure the trials that fate will send us; […] we will die humbly and there, beyond the grave, we will say that we suffered, that we cried, that we were bitter, and God will have mercy on us. […] We will hear the angels, we will see the whole sky in diamonds… We will rest! (The watchman knocks. Telegin plays softly; Maria Vasilyevna writes in the margins of a pamphlet; Marina knits a stocking.) We'll rest! (The curtain is slowly lowering.)".

The material was provided by the Internet portal briefly.ru, compiled by V. A. Bogdanov

Chekhov first presented his work to the general public in 1889, where he reflected the whole life of Ivan Petrovich Voinitsky. The play was named after the protagonist.

Throughout the story, it is clear that Ivan Petrovich does not blame himself for his failures, but those around him and circumstances. The fact that life was in vain, he realizes only before death.

Uncle Vanya lives in the house of Professor Serebryakov's ex-wife. He is there because he does not have enough money to live in an apartment in the city. Despite occupying someone else's homestead, he is dissatisfied with the professor who has been hard at work there for a long time.

Astrov constantly complains to Uncle Vanya about his difficult work as a doctor, about the terrible maintenance of patients.

Voinitsky does not live in the house for free. Together with his daughter Serebryakov, Sonya, he runs the household. He was very nice to the girl.

Working for Sonechka's father, the hero notes to himself that Serebryakov is a mediocre and useless person who is still trying to prove himself.

She and Sonya notice that despite the fact that they perform their duties conscientiously, the professor does not show any respect for them.

Astrov regularly comes to the estate to treat Serebryakov. Sonechka falls in love with the doctor. The girl tells her stepmother about her experiences. But her feelings with the doctor are not mutual. The professor likes Elena Andreevna, whom he tries to court.

Sonya does not like her stepmother, with her appearance in the house, all the workers became lazy due to the fact that she constantly arranges holidays. Sonya's father decides to sell the estate. He tells his family about it. Serebryakov plans to live on the interest from the money received from the sale, putting them in the bank.

Upon learning of this, Uncle Vanya wonders where he and his elderly mother will live. Serebryakov reassures him that this problem will be resolved in the near future. Sonya is surprised by this behavior of her father. Despite the honest work with Ivan Petrovich, Serebryakov makes them live like vagabonds. Voinitsky, enraged by such an act, makes an attempt to kill the professor. He doesn't get anything.

Such a fate forces Uncle Vanya to commit suicide, but Sonya does not let him die. He is terribly worried that Serebryakov's wife is in love with Astrov and does not reciprocate him.

Soon, Serebryakov changes his mind about selling the estate. Uncle Vanya continues to work for him together with Sonechka. Astrov leaves. Performing his routine work, Uncle Vanya begins to complain to the girl about his hard life and unfair fate. Sonya agrees to this.