The Seagull is a typically Chekhovian drama, part of a subgenre that could be described as “non-dramatic drama”. There is little plot, and most of the plot space is occupied by psychological portraits, lyricism and a certain truly elusive atmosphere, built in the harsh realities of the Russian 19th century. Action is replaced by conversation, and the well-known humorous dialogues of the time are replaced by the jerky style of the main characters. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”? Get an original essay The drama is built around a family and their small community's web of relationships, and is depicted through a series of situations and conversations, as if the whole plot is a line of genre paintings, depicting just moments from the lives of the characters. The pattern of the first three acts is that of Arkadina and Trigorin's week-long vacation, and their departure from Sorin's estate. In none of the acts there can be a traditional and informative exposition. In the very first scene we see a scene under construction, the symbolism of which is not forgotten, as we see this same scene described as being broken and skeleton-like in the ending scene, making it an important symbol and a key to defining the atmosphere of the book. In this first act, the basic tone is already negative, the first conversation beginning with the question; “Why does she always wear black?” Shortly after, the dramatic plot unfolds, as we see the emergence of a circle of unfulfilled loves. The loves are inherently unsatisfying and their tones also differ, which begin with Nina, loved by Treplyov, falling in love with Trigorin who then forms the aforementioned circle. Medvedenko falls in love with Masha, who in turn loves Treplyov, who loves Nina, whose heart chooses Trigorin, who despite his volatility remains inseparable from Arkadina, who would not let him go anyway. In this way, The Seagull has no clear main character, everything is equally important, all of their lives being one tragic destiny. They all know each other's relationships, everyone participates in each other's lives, everyone is unhappy, full of wishful thinking, but everyone loves, but also loves someone other than the one who loves them. Art is the only way to flourish, but in their personal lives, even the best artists suffer - their loves are only a source of pain. The character portraits are descriptive and each represent a part of Russian society of the time. Arkadina is made up of all the actresses' negatives, it is banal, full of clichés and hysterically excessive. All conversations are an opportunity to act for her, and the main traits of her personality are ridiculous selfishness, opportunism and selfishness, which also includes greed. When speaking to her equals, she is either too endearing or condescending, but with her son she is cold and dismissive. Trigorin, his love, is a mediocre but successful writer, uncommunicative and reserved, but also vain. This is clearly seen when he only reads his own writings. He sees everything as a way to gain experience, which makes him unscrupulous and vicious. The only thing that keeps him in contact with Arkadina is that he is too lazy to do anything else. He works almost constantly, collecting material for his works, but is never satisfied with them either. His confessions in the second act are in some ways a self-portrait of Chekhov. Trepliov, Arkadina's son, suffers from a constant lack of love and is ambivalent towards his mother: he.