Czar

Here is a video of Nicholas II the Tzar of Russia during the first
production of Three Sisters. I really respond to visual things that get me
into the world of the play.
http://www.youtube.com/watch?v=JD1zpzS5HtQ

Realism born... no, really

Chekhov, through the Moscow Art Theatre, made realism the new style.
During one of the rehearsals for "The Seagull", Chekhov had the note that
the actors were acting too much and they needed to start acting like real
people: "They act too much. It would be better if they acted a little more
as in life." Sounds so simple, but that is exactly what I have been
striving for through out my studies. How do I know the words, the
character(s), and the world of the play enough so that the words seem to
be coming from my own thoughts and feelings? To act vs. to be.
Stanislavsky was fasinated by this idea of embodying a play versus doing
an interpretaion. Chekhov wrote his plays about real people and the inner
struggle that all people HIDE from each other. Society tells us that our
personal struggles are too messy to share with others and so we keep them
inside. I think Chekhov explores what keeping our troubles inside can do
to a person, a relationship, a family.
Stanislavsky: "What is so wonderful about Chekhov's plays is not what is
transmitted by the words, but what is hidden under them, in the pauses, in
the glance of the actors, in the emanation of their innermost feelings."
Boom shakala! The words are not the hard part; they are there to help us.
The text of Chekhov is never the subtext.


"The Stanislavsky Heritage. Its Contribution to the Russian and American
Theatre" by Christine Edwards

Chekhov as existentialist?

A Princeton dissertation examining the melodramatist (someone immersed in
a situation, unable to see outside their own perspective) and the
metadramatist (stands apart, looking in at the conflict, the doctor) and
its relationship to Sartre's existentialism, Russian spirituality in
Chekhov's plays.

http://www.scribd.com/doc/19155271/Chekhovs-existentialism-The-ethics-of-outsidedness

~olivia

in quotation marks..

Some interesting quotes from Chekhov on his writing.

http://mockingbird.creighton.edu/NCW/chekwrit.htm

Including this great quote, "I still lack a political, religious and
philosophical world view — I change it every month — and so I'll have to
limit myself to descriptions of how my heroes love, marry, give birth,
die, and how they speak. — To Dmitry Grigorovich, October 9, 1888 "

http://findarticles.com/p/articles/mi_m2455/is_n1_v32/ai_17156455/

Today's Famous People 'encounter' Chekhov

This is too crazy:

http://www.popeater.com/2010/10/21/celebrity-chekhov/

http://www.amazon.com/Celebrity-Chekhov-Stories-Anton-P-S/dp/0061990493

-Dylan

Russian vs American

Check out this website on Russian culture in contrast to American culture. Some very interesting, and useful stuff written.

http://www.goehner.com/russinfo.htm

Some favorite excerpts:
The Russian soul has been described as: sensitive, revere, imaginative, an inclination to tears [but not publicly]"

For Kulygin and Olga-

"'Higher Level Thinking Skills' is an unknown term in Russian education. Students are told what the answer is, not why the answer is what it is."

A life in letters

Anton Chehkov: a life
By Donald Rayfield

British Scholar, Donald Rayfield went through every letter, diary entry
Chehkov wrote in his adult life in order to piece together a week to week
breakdown of everything Chehkov was up to ever.

Lucky for us, the entire book is posted online.

http://books.google.com/books?id=9Z_vTUUYxkgC&printsec=frontcover&dq=anton+chekhov:+a+life&source=bl&ots=Ol_wov8S04&sig=6tFKykkqZgeo0qRrT5Yw3H8tI4o&hl=en&ei=PKjDTOP1IIL7lweShvQD&sa=X&oi=book_result&ct=result&resnum=3&ved=0CB4Q6AEwAg#v=onepage&q&f=false

~olivia

pictures #2

pictures #1

two articles

below are the links to two articles, the first focused on past past
history, and the second more focused on the specific time period in which
the play was written. they're long, but i think they have a fair amount of
light to shed on the religious/political climate and situation.

http://www.jstor.org/stable/125405?seq=2

http://www.persee.fr/web/revues/home/prescript/article/cmr_0008-0160_1991_num_32_3_2285

the next direction i hope to take with research is how the military ties
into all this...

- Jessie

russian orthodoxy

The following is the link to a video concerning the conflict between the
catholic church and the russian orthodox church. although it is current, i
think it is still a remarkable example of russian nationalism and
loyalism/efforts to keep russia as russian as possible, as well as the
strength of resolve of the russian people in all walks of life. it also
references back to when even the orthodox had to hide their faith or it
would be destroyed (and was often destroyed):

http://www.youtube.com/watch?v=7esUOmVB8U8

a little bit of soul

Tatyana Tolstaya, the great grand niece of Leo Tolstoy, gives us insight
into "the Russian soul" (nickname for Russian spirituality) through a
contemporary lens.

http://www.time.com/time/magazine/article/0,9171,974756,00.html

~olivia

How to sit if you're Gorky

How did men sit in 1901 Russia? Simple but practical question: Let's look
to Gorky!

Russian painting

Paintings depicting late 1800's and early 1900's Russia!!! Visual Learners
Welcomed!

http://www.russianpaintings.net/doc.vphp?id=128

soldiers' uniforms

Here's an idea of what a 1901 Russia Solider uniform was like:

2nd City take on Chekhov

The first season of the "Second City" TV show did an entire episode parodying Chekhov entitled "Memoirs of Anton Chekhov" among which John Candy, Eugene Levy, and Catherine O' Hara play Star Trek characters landing in Russia, and they apparently meet and mingle with Anton Chekhov in some capacity. I couldn't find any video or much of a synopsis, but I think it sounds extremely funny and could possibly expose some unsaid (or said) truths about Chekhov's work.

- Corey

Theatre Arts article

Found a copy of an article that was published in Volume 1, Number 4 of Theatre Arts Magazine in August 1917. Extremely useful article pertaining to the atmosphere and experiences of the Moscow Art Theatre, but this excerpt is definitely inspiring to me, reiterating some of what we talked about in terms of a working ensemble:

"The acting company contains no "stars." Perfect ensemble effect is the aim of every player, and an actor who has an important part in one play may be hardly more than a "super" in the next. The theatre now has the reputation of being the home of perhaps the best acting in Europe. Its actors are not taken from regular theatres, but are preferably trained from youth by the Art Theatre members. A school, or "Studio," has been established for this purpose, and to make possible experiments in new methods of staging. There are no curtain-calls, no matter how successful the production has been. And the audiences are requested not to applaud at any time during the course of the play."

It's interesting to take a look at how a lot of our commercial theater today works in complete opposition to that. Almost every Broadway production right now in New York has at least one "Star" which accordingly brings in revenue.

But I can't help but think about how humbling it was to hear Phylicia Rashad say that she "bows, applauds, prays, and praises those who start new theater companies (referring to Pig Pen) and film studios." In my humble opinion, these ideas, implementations, innovations, and flat out risks are where the truest art begins and thrives in its most fulfilling sense...which is essentially what Chekhov's work was at first.


Copy of the article: http://www.actors-studio.com/history/mat.html

- Corey

Rodenberg's Second Circle

This is one of my favorite Ted.com talks. Patsy Rodenberg talks about the Second Circle, but also mentions the real reason why she does theater. Chilling.

http://www.ted.com/talks/patsy_rodenburg_why_i_do_theater.html

Stark trasnlations

I am using a translation done by Stark Young (Copyright 1956). He writes an incredibly interesting introduction to the text where he mentions Stanislavsky's thoughts about the first Chekhov play he produced (The Sea Gull):

"With half a dozen translations of Chekhov's plays available , plus the dictionary, we could hardly say that most of the bare meanings are not close enough to hand. A great part of the mischance that has fallen to Chekhov's lines has nor, however, been a matter of mere vocabulary. The vocabulary could hardly be simpler than it is in Chekhov. In fact, the directors of the theatre where his plays were to be given wondered 'what to do about uttering the simplest of phrases simply.' And Stanislavsky has told us in writing that when he came to producing 'The Sea Gull', he did not not know any way to proceed; he found the words too simple. This was in 1896. Of all the dramatists Chekhov least deserves the muddle of all the various styles that have been foisted on him in English - the involved, for instance, or the elevated, or the psychological-gloomy, or the turgid-soulful, or the flat, or the lacking in lyricism or wit."

- Corey

Brooke and more Chekhov

In reading a snippet of The Open Circle; Peter Brook's Theatre Environments, I ran across another interesting concept that we might take to heart along our Chekhov-ian journey...

The Bouffes du Nord in Paris (http://blog.atrapalo.fr/wp-content/uploads/2010/07/Theatre_Des_Bouffes_du_nord.jpg) was the home to many of Peter Brook's productions. In 1981 a French language production of the Cherry Orchard was put on (originally they considered a production of The Three Sisters, but seeing as the space lent itself more to the structure and atmosphere of a house, they chose the former) and the entirety of the theatre was used as the stage/playing space. The actual attic of the theatre was used in the production, along with audience entrances and balconies/etc.

Though our production of the final act of The Three Sisters is to be most focused on the actor's approach to the material (and not so much the production value) I do find it valuable to take from this particular production's attack the idea that we should really connect with our playing space even if it is merely the smallish studio C. To know our space intimately and really make it our own both physically and mentally will be helpful to our full investment in the world of the play. As Natasha Parry said, "Even though the audience is practically on top of you, you can still see and imagine things as if they're not there." We know even now that we will inevitably be in the laps of our audience when we do perform, but if every inch of that space is ours we will fill it all with no fear of being pulled out of our world once we do have spectators.

- Jesse

M.A.T

We've established that the Americans and the Brits misunderstood Chekhov intitially; that the original productions at the Moscow Art Theatre were more truthful to the heart of the plays than we usually get today. I wanted to explore those productions-what, apart from excellent performances by EVERYONE, made them so successful? I found some interesting images in, go figure, "Anton Cehkhov at the Moscow Art Theatre: Illustrations of the Original Productions."

The book features models of the scenery used, and they were very, very basic...almost cartoonish in their simplicity. I've seen productions of Chekhov where it seems the scenery is trying to be historically authentic, and look realistic. However, the original productions were quote the opposite. Maybe to draw the focus entirely on the actors? Chekhov isn't Realism, so I think we're lucky to be working on this in a classroom studio, with only the basics and ourselves to tell the story.

A few photos can be found here: http://books.google.com/books?id=epGzqzlNJCAC&pg=PA10&lpg=PA10&dq=chekhov+scenery&source=bl&ots=McWz_IbIH7&sig=5lSzOMTjj_nHpPNrQtAuq-kmnas&hl=en&ei=iay7TNOvD4SBlAfOxZ2GDQ&sa=X&oi=book_result&ct=result&resnum=2&ved=0CBgQ6AEwAQ#v=onepage&q=chekhov%20scenery&f=false

Review

Here is a review of a recent production of the sisters in Harlem

http://theater.nytimes.com/2009/02/25/theater/reviews/25thre.html?scp=1&sq=the%20three%20sisters%20chekov&st=cse

"Here the actors often appear to be building their characters in a vacuum."

How to avoid this? One of the interesting things that we seem to have focused on so far in class and with Tony is that sense of isolation. Having a conversation with someone yet remaining distant. Although interesting, I think this might be a trap. At least it seems like this particular production may have went too far in their manifestation of that idea. I'm curious as to how to solve this. The Chekov article we read for class talks about how the characters should be about to burst out with energy and emotion at any moment. It seems like the conflict is constantly, do I have the strength and desire to speak up about what I am actually feeling, or do I just lie. So maybe these actors weren't being specific enough with their subtext. I think it is probably key to have it involving the people in the scene in someway.

- Denver

more letters

"Dear Writer, Dear Actress"--
A book of the letters written between Chekhov and his lover, and later wife, Olga Knipper. She was an actress, who soon became his inspiration for characters such as Masha, a character she originated in Moscow. They met in rehearsals for the first production of The Seagull, and fell in love. But because Chekhov was always away writing, and she performing in Moscow, they communicated mainly through this series of love letters, only visiting each other rarely.

Check out this article I found from some rand-o uk newspaper, about their letters. It comments on how theatrical, dramatic, and beautiful the letters were. His relationship with Olga, really allowed him to create such dramatic, and dynamic stories. Their story is captivating, and I think it gives us an insight on where Chekhov was mentally and emotionally when he was writing his major plays.
Here's the article.

http://www.independent.co.uk/arts-entertainment/my-little-spermwhale-1351728.html

I didn't find a copy of the letters online, but I'm sure we can find one in the library.

"Sometimes I hate the theatre and sometimes I love it to distraction," she wrote to him four years before his death. "It has given me life, much sorrow, much joy, it gave me you and it has made me a real person."
-Olga Knipper

http://blogs.denverpost.com/captured/2009/10/21/color-photography-from-russian-in-the-early-1900s/544/

CAPTURED COLOR PHOTOGRAPHY FROM RUSSIA IN THE EARLY 1900'S!
this is a really cool site! Masha, Olga and Irina have their own pic. lol.

- Josh

Political context

Here's some info about the political situation in russia when the play was being written. source:http://www.historylearningsite.co.uk/russia_1900_1939.htm

Russia had a society that was nearly bereft of a typical middle class. The vast bulk of Russians in the C19th were extremely poor; a few were extremely rich. The educated middle class were small in number and invariably outside of politics. Though small in number, the middle class did have one great advantage – it was an educated class and many in the middle class saw that Russia could not carry on as it was before Alexander III. It is not surprising that Lenin and Trotsky came from the middle class.

That the middle class was educated put a barrier between them and the peasants in the fields and the workers in the factories. Their ideas must have seemed totally alien to the vast bulk of Russia’s population that was still very much under the influence of the church. The church was very much a believer that your rank and status on Earth was determined by God and if you were poor, it was because He ordained it. Such a view swept throughout Russia in the early to mid-C19th. Only the educated middle class saw fit to challenge such notions. The Russian Church also preached that the tsar was the father of his people and many of the poor followed the tsar with seeming blind obedience. Clearly this was not a view shared by those who murdered Alexander II.

Those who wanted change knew that they would have to take it as they could not expect major reform to come from the government of Russia. To take what they wanted, they needed the support of the masses. To get this, they had to break the stranglehold the establishment had in the psyche of the poor. These reformers themselves were also facing serious problems as each revolutionary group that developed in Russia had different ideas as to what to do and they were, at times, more at war with themselves than they were with those who governed Russia.

Russia pre-1880 was primarily an agricultural nation with all the social conservatism and superstitions this brought. This very much played into the hands of those who wanted Russia to remain as it was. However, after 1880, Russia started to industrialise and all the problems associated with a quick transition flooded into the main cities of Russia. The urban proletariat was a social class Russia had not witnessed before – they were to play a major part in supporting those who wanted major change in Russia. By 1910, Russia had an industrial growth rate of 10% - the fastest in Europe. In the short term, it brought riches to those who owned the industries that thrived – coal, oil steel etc. It also brought a huge amount of social misery to those who were to turn to the revolutionaries.

- Josh

That Stanislavsky guy...

An Actor Prepares...

Going back through some notes from Stanislavski's book, there were some valuable thoughts...and a question that arose:

1) "The very worst fact is that clichés will fill up every empty spot in a role, which is not already solid with living feeling." We've talked at various lengths about why clichés are what they are, why we should avoid them, etc. The main point to be taken from this statement however, clichés aside, is that GENERIC information will fill the empty spaces we leave if we don't do our work SPECIFICALLY. We have to be able to let go of the work, of course, but we must first do it detail for detail. In addition, because we are examining the intricacies of the human condition, we must use our skills carefully and to the appropriate degree in order to inhabit these characters.

2) Stanislavski mentions an exercise given the students where they were asked to sit in a chair onstage in front of the class. Just sit. JUST sit. Nothing is ever JUST something. Many of the pupils spent their time fidgeting about and therefore never achieved what they were asked to do. Their classmates felt uncomfortable even looking at them at times due to their "helplessness and desire to please." The director then took his turn and actually sat still in the chair and the students couldn't take their eyes off of him. The simplest of tasks are often the most demanding. The secret is, "Whatever happens on the stage must be for a purpose." This once again references specificity. In addition, one might notice that with purpose comes presence. If an actor has a reason for being where they are, no matter what it might be, they have some inner strength of resolve and because of this an audience will not be afraid of watching them (as the students did during the exercise).

3) We spoke briefly about the seemingly ridiculous stage directions such as "through tears" etc. given throughout the text. I know I'm preaching to the choir when I say we must not act feelings for their own sake. The REMINDER I am supplying is that we must have faith that we will reach the extremes called for in good time and with thorough work. What sparked this thought: "In the beginning forget about your feelings. When the inner conditions are prepared, and right, feelings will come to the surface of their own accord."

4) Lastly, a question that has begun to form in my mind concerning acting and one's approach to performing is: (and I suppose it would greatly depend on the director's concept) should one contextualize one's actions and character/self within the time period in which the play was written, the period in which it was set by the author, OR the time period in which it is now being performed? This question speaks to whether or not we should take into account cultural standards/stereotypes/etc. of whichever given period when working on a role.

So...there are some things I have come across and the thoughts and observations which sprang to mind. Consider them how you will.

Dreamer

http://leeyoungheui.com/imagelib/sitebuilder/misc/show_image.html?linkedwidth=560&linkpath=http://leeyoungheui.com/sitebuildercontent/sitebuilderpictures/Dreamer.jpg&target=tlx_new

I ran across a painting by Youngheui Lee Lim entitled "Dreamer" and found it fitting for this piece. Particularly for the three sisters, but it applies to all characters to some extent.

If we take the dreamer of the title to be the central face in the painting, there is a juxtaposition between said title and the fact that this face is closed in on all sides. All it can do is seemingly watch the smaller figures at liberty run in circles around it.

This connects to Three Sisters in that they have this hope/dream of which they speak of returning to Moscow and yet life continues to pass them by, other immediate demands cross their paths and the urgent call of Moscow is put aside.

Puget Sound Dramaturgical analysis

REALLY useful dramaturgy on world of the play and Chekov done by the University of Puget Sound.

Here's the link:
http://library.ups.edu/instruct/ricig/tsmain.htm

- Stefan

[editor's note : Puget Sound might as well be Russia - very similar environment]

Marrick rides again

I did some traveling this weekend. The bus I was on was sold out so a girl wound up sitting next to me. She immediately started up a conversation. Normally, I would been keen on something like this. I like meeting new people. But considering the night before this I had slept (or rather tried to sleep) at the airport, I was a bit less than enthusiastic. She was going to visit a friend of hers who was studying at Cornell University. She talked... About her boyfriend... About her parents... About taking over her fathers company if she graduated college with a 3.7. I told her that about where I was going. What show I was seeing... Who I was going to see... Like in that exercise in we did in that first day in Tony's class I thought of somethings that I could tell her about myself that related to what she was telling me. What was interesting about the conversation was the more tired and the more my need to sleep invaded the conversation the more I found myself looking out to the mountains that where passing outside my window. As the conversation went on I drifted into a third circle of attention at first just physically. I was still talking and listening. But after awhile I started talking about the trees. And how autumn was how I wanted my waning years to be. I didn't want to like shrivel up but rather expand into to many colors and be really happy with grandkids and a family around me that makes me beam with happiness. After this I went to sleep and woke up once it was time for me to get off. Looking back. I realize that I unpacked a Chekhov metaphor right there on the spot and did it in the circle of attention that corresponds with the future. I sounded like Vershinin talking about how we live our lives in the hope that our children's children will be happy. Interesting moment on the bus!

Chekhov's letters

This is a Link to Letters written by Anton Chekhov to his closest family and friends. Great insights to his personal beliefs, morals, ...ect... Letters begin on pg 34. Before the letters is an extremely thorough biography.

http://www2.hn.psu.edu/faculty/jmanis/checkov/Chekhov_Letters.pdf

[editor's note : These letters are VERY revealing -read them!]

Tobolowsky musings

Some thought's on Stephen Tobolowsky's podcast on "Heart. Broken."

"What is so awful about being lost isn't really where you are, but when you are. It's an issue of time more than location."

-When we are lost, literally or mentally lost in the deep dark corners of our own minds, you look back on what was THE MOMENT that brought you to where you are now, lost.
-Does even thinking of being "lost" in actuality take one further from being "found"? One thought closer, two steps away. Struggling to get free of quicksand only makes you more stuck. Slowly, but surely to sink down, down, down. Once you've dug 6 feet down, why not just build a coffin too?

"I needed to be my own Skinny Man and wallop myself in the head"

-If the power of our own minds can put us into a never ending cycle of self-deprecation and everlasting depression, we can have the strength to live life with love and happiness.
-Psychiatry and Therapy are only as useful as the patient makes it. A forced discussion with yourself. When not able to alone, with a second guiding party, one can express and free the thoughts keeping them down. That or talk themselves back into a whirlwind of negativity.

-All in all when pained, it is always a question of time. "When will I get better? When will something good happen? When will I make the decision to change my life?" Then we look for the how. "How will I get better? How will something good happen? How will I make the decision to change my life?" But really, do we have control of any aspect at all? Perhaps to not ask questions, and to give over to the forces at work. An entire world of people's choices affect our daily lives. What choices of ours have an effect on others, especially those we love? Only Time can tell the answer.

- Dylan

Bronte sisters or Three Sisters?

It is in vain to say human beings ought to be satisfied with tranquillity: they must have action; and they will make it if they cannot find it. -- Charlotte Bronte
(Subtext subtext subtext!!!)

Here is a website about the Bronte sisters, who may have inspired our story.

http://www.brontefamily.org/

Check out their bios, little things match up. i.e. Emily hating school teaching- somewhat like Olga, and the families methods of marriage and death.

- Grey

Taiwanese Chekhovian ballet

I thought it would be interesting to take a look at Chekhov explored in other art forms, and it turns out his works have indeed been translated into opera, ballet, and, interestingly, circus shows.

This article touches on a Taiwanese dance company staging an original ballet inspired by Cherry Orchard. http://english.ruvr.ru/2010/06/22/10381269.html

It also mentions the Swiss cirucs troupe Teatro Sunil's production "Donka," described as a homage to Chekohv's "works and personality." The choreographer says he was initially scared by Chekhov, but, through personalizing it, found the work to be very accessible.
Here's a clip of the show that, I think, allows us the chance to experience the wild dreams and passions buried beneath many of the characters:
http://www.youtube.com/watch?v=kmuhibZiiCY

Symbolism

An article with some interesting ideas of the symbolism in each action:

http://cfac-old.byu.edu/fileadmin/tma/user_files/Production_History/Study_Guides-PH/Three_Sisters_SG.pdf


Protopopov, the invisibly menacing character, is portrayed entirely through such clues. His presence at the opening celebration is indicated by the sound of a carriage and by the gift of a cake, both symbols of middle-class respectability completely at odds with his function as base destroyer.

Masha perceives the dichotomy and expresses distrust of the man.

Solyony’s hand, which bring death, smells
like a corpse;

Tchebutykin’s newspaper and notes pitifully echo his youthful efforts as a medical student;

Kuligin’s twice
given book shows both his indifference to the desires of his in-laws and the mediocrity of his own professional life


"You tell me that people cry at my plays. I’ve heard others say the same. But that was not why I wrote them. It is Alexeyev [Stanislavsky] who made my characters into cry-babies. All I wanted was to say honestly to people: “Have a
look at yourselves and see how bad and dreary your lives are!” The important thing is that people should realize that, for when they do, they will most certainly create another and better life for themselves. I will not live to see it, but I know
that it will be quite different, quite unlike our present life. And so long as this different life does not exist, I shall go on
saying to people again and again: “Please, understand that your life is bad and dreary!” What is there to cry about?"
-Anton Chekhov

Quotes

a few quotes from Anton Chekhov:


A good upbringing means not that you won't spill sauce on the tablecloth, but that you won't notice it when someone else does.


All of life and human relations have become so incomprehensibly complex that, when you think about it, it becomes terrifying and your heart stands still.


If you cry 'forward', you must without fail make plain in what direction to go.


Any idiot can face a crisis - it's day to day living that wears you out.


You must trust and believe in people or life becomes impossible.


Love, friendship and respect do not unite people as much as a common hatred for something.


Man is what he believes.


Money, like vodka, turns a person into an eccentric.


Only fools and charlatans know everything and understand nothing.


People don't notice whether it's winter or summer when they're happy.


Reason and justice tell me there's more love for humanity in electricity and steam than in chastity and vegetarianism.


The thirst for powerful sensations takes the upper hand both over fear and over compassion for the grief of others.


The world perishes not from bandits and fires, but from hatred, hostility, and all these petty squabbles.


We learn about life not from plusses alone, but from minuses as well.


When a lot of remedies are suggested for a disease, that means it can't be cured.


When you're thirsty and it seems that you could drink the entire ocean that's faith; when you start to drink and finish only a glass or two that's science.

Stella Adler's Chekhov lessons

Stella Adler's Lecture on Three Sisters

http://www.youtube.com/watch?v=Nuse3OlS8Dc
http://www.youtube.com/watch?v=bLpEm-QD9Kg
http://www.youtube.com/watch?v=yo-tTo0hO3w

- Abdiel

Shaw does Chekhov (and KING LEAR, incidentally)

George Bernard Shaw, Irish writer and critic of the early to mid 20th century, wrote a play called "Heartbreak House", based on "The Cherry Orchard". It's very interesting what happens when someone who's used to English theatre takes on the Chehkovian aesthetic.

Introduction & Script:

http://www.fullbooks.com/Heartbreak-House1.html

- Jessie

Masha's poem

Masha quotes lines from the poem, "Ruslan and Ludmilla" and according to the version of the play I read, it runs through the play as a "kind of theme".

Here's the link to the poem:
http://russian-crafts.com/tales/rus_lud.html

- Stefan

Roundabout review

New York Times Theater Review of the Roundabout Theater Company's Production of Three Sisters in 1997. A theater cast full of television and movie actors.

http://books.google.com/books?id=geRRHx3m9ZIC&pg=PA27&lpg=PA27&dq=three+sisters+chekhov+roundabout+theater&source=bl&ots=lt3CyR8vQs&sig=ywoLKf8r4YqY45iOzzSFhXXUUdo&hl=en&ei=5Zq1TOmgGYL6lwfZsuTuBQ&sa=X&oi=book_result&ct=result&resnum=7&ved=0CC0Q6AEwBg#v=onepage&q=three%20sisters%20chekhov%20roundabout%20theater&f=false

- Dylan

Charlie Rose

I might repost this when we have more options.

This is a charlie Rose interview with Jeanne Tripplehorn, Lili Taylor, and Amy Irving from a production of Three Sisters at the Roundabout Theatre in 1997. They talked a little about the play and how there is never an end to a Chekov character. The work is never done there are always more and more layers to delve into and explore. They also spend a little while discussing film versus theatre. It's so cool to hear people who have done a lot of film say that theatre is where it's at. The roles are so much better. Film is so much about money and budget that they won't take risks that the theatre will. Maybe that is the difference in the videos we watched today. Maybe the russians could afford to take more risks in their character development and film style. I don't know. It seems important to have an appreciation of the play that we are working on, because we might not have another chance to work on Chekov in our lifetimes. Kinda Morbid. I guess the trap is to treat it like some precious flower that shouldn't be tampered with. But it would be much more fun to really grab a hold of it and live it.

http://video.google.com/videoplay?docid=6156117442406287283#

Pics from Lindsay

Article from Lindsay

A long winded, though interesting article on "Chekhov's Vision of the Russian Provinces". It cross references between Chekhov's plays as well as Gogol's on the importance of Moscow.

http://www.utoronto.ca/tsq/09/lounsbery09.shtml

Peter Brook Chekhov

Peter Brook does Cherry Orchard
without the realism.

http://query.nytimes.com/gst/fullpage.html?res=940DEED8123CF936A15752C0A96E948260&ref=anton_chekhov

-Jessie

Welcome to Junior Acting!

Welcome to Junior Acting in the Fall of 2010.

This is where you will post research, ideas, notes and reflections on your process along with your character analysis.

Use this as a resource for yourselves - fill it with things that inspire, aid and teach you

enjoy!

matt