Individual skill

chekhov-dramaturgy

Writing plays and screenplays in the Chekhovian mode (契诃夫戏剧法) — distilled from the complete plays (没有父亲的人/普拉东诺夫, 伊凡诺夫, 林妖→万尼亚舅舅, 海鸥, 三姊妹, 樱桃园, nine one-acts) plus Chekhov's own letters, Stanislavsky's and Nemirovich-Danchenko's rehearsal notes and 焦菊隐/童道明 criticism. Covers the four-act mood-based structure without central climax, off-stage events, "correct answer stated in Act 1 and refused", the announced event that never happens, three-layer endings (hope monologue + nihilist line + household action), no-villain conflict with environment, every character's object and catchphrase, one-way love chains, half-step-off dialogue, philosophy cut by thirst, the shortest words for the deepest pain, stage-direction and sound discipline, and how Chekhov revised The Wood Demon into Uncle Vanya. Use when the user wants an ensemble drama, a "nothing happens" play, subtext-heavy dialogue, a family estate / provincial story, an anti-climactic structure, or asks how to "Chekhov-ize" a script.

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# 契诃夫戏剧法(Chekhov Dramaturgy)

> **输出语言=提问语言**;术语一律锚回原词,见 [sw-workflow/terms.md](../sw-workflow/terms.md),不自创译名。

本 skill 从《契诃夫戏剧全集》四卷(上海译文,焦菊隐/李健吾/童道明译)逐幕拆解中提炼:《没有父亲的人》(普拉东诺夫)、《伊凡诺夫》、《林妖》及其改写本《万尼亚舅舅》、《海鸥》、《三姊妹》、《樱桃园》、九部独幕剧,以及契诃夫书信、斯坦尼斯拉夫斯基与丹钦科的排练记录、焦菊隐与童道明的评论。

核心信条(契诃夫自述):**"强劲地开头,柔弱地结尾。违背所有戏剧法规。写得像部小说。""既没有一个天使,也没有一个魔鬼。"** 冲突不是人与人之间,而是一群人与包围着他们的环境之间。

每部剧的逐幕结构表和原文范例见同目录 [reference.md](reference.md)。

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## 〇、媒介边界:哪几层可以搬走,哪几层不能
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