Since most of the play deals with death (3 sister's father, Tuzenbach,
their dreamy lives in Moscow). A few things on what they believe(d) in
the world that is Russian Orthodoxy.
-Souls do not leave the body until after three days, then they travel
to the Judge
-Hell was "destroyed" by Christ. It still exists but is supposedly
"sentenced to death." (‘Today Hell groans and cries aloud: It had been
better for me, had I not accepted Mary’s Son, for He has come to me
and destroyed my power; He has shattered the gates of brass, and as
God He has raised up the souls that once I held’... In the words of St
John Chrysostom, ‘Hell was embittered when it met Thee face to face
below. It was embittered, for it was rendered void. It was embittered,
for it was mocked. It was embittered, for it was slain. It was
embittered, for it was despoiled. It was embittered, for it was
fettered’.)
-Paradise or Heaven is not a concrete place, but a "state of the
soul". ("Just as Hell is a suffering on account of the impossibility
to love, Paradise is bliss that derives from the abundance of love and
light. He who has been united to Christ participates completely and
integrally in Paradise.")
-Other aspects & dogmas of Eastern Orthodoxy can be found on this
Online Catechism: http://orthodoxeurope.org/page/10/1.aspx
Some words from Chekhov on his beliefs:
“I am afraid of those who look for a tendency between the lines and
who insist on seeing me as necessarily either a liberal or
conservative. I am not a liberal, not a conservative, not an
evolutionist, nor a monk, nor indifferent to the world. I should like
to be a free artist and nothing more, and I regret that God has not
given me the power to be one…Pharisaism, stupidity and tyranny reign
not in shopkeepers’ houses and in lock-ups alone; I see them in
science, in literature, in the younger generation…I regard trademarks
and labels as a kind of prejudice. My holy of holies is the human
body, health, intelligence, talent, inspiration, love and absolute
freedom – freedom from violence and falsehood no matter how the last
two manifest themselves. This is the program I would follow if I were
a great artist.”
“What an unhappy lot we are! Other boys may run, play, visit their
friends. We can only go to church.”
“I am an unbeliever, but of all the faiths, I esteem the faith of L.
Tolstoy the nearest to my heart and most suited to me.”
"What is unfortunate is not that we hate our enemies who are few but
that we do not love enough our neighbor who is infinitely numerous.”
St. Gregory of Nyssa is a well revered saint in Eastern Orthodoxy. A
few quotes on his teachings of the faith:
"When he who beholds that Divine and limitless Beauty, [and] sees the
things discovered at every step to be so altogether new and
unexpectedly marvelous in comparison to what he saw previously, he is
overcome with awe by what unfolds before his eyes at every step. His
desire to see [God] never subsides, because what he anticipates is far
more magnificent and divine than anything he has yet seen”
"While we carry on our present life in many different ways, there are
many things in which we participate, such as time, air, place, food
and drink, clothing, sun, lamplight, and many other necessities of
life, of which none is God. The blessedness which we await, however,
does not need any of these, but the divine Nature will become
everything for us and will replace everything, distributing itself
appropriately for every need of that life..."
Monday, November 29, 2010
The Great Santini
Over the break I opened up a The Great Santini, a novel by Pat Conroy. Its
is about an Ace marine fighter pilot Bull Meecham and his family of four
children. This mans children have loads of resentment for him because
every year or so the children must uproot their entire lives and move to a
completely new place. This resentment is counter balanced by Bull's rigid
dicipline and his wife's unwavering love and devotion to him and the
family. Vershinin undoubtedly has had to move his family all about Russia.
In fact this could be the very reason she is so miserable and wishes to
kill her self so often. As the children in the novel explain it is so
difficult to get close to any one and then move away from them so quickly.
They kids question why they should make friends when those friends will be
dead to them in another year or so. The connection between my wife and I
isn't good to begin with. This may have been redeemable except for the
fact that my career takes away all of her friends and other sources or
comfort and love at random times in her life. She is completely alone. No
wonder she wishes to kill herself. To make matters worse, I am almost
wholly responsible for her misery.
Another interesting topic brought up in this book is how officers
lead. The protagonist in the book is considered one of the best
fighter pilots the army has. That being said, he behaves like a
jack ass often and shoots off his mouth when he shouldn't. When
this man leads it is through intimidation and display of power.
However, men that he started in the marines with with have
already surpassed him in rank. These men lead with their
intelligence and wit and were Masters at knowing when it was
smart to bite your tongue and listen. How to appear to be exactly
what their superiors and everyone around them wanted. This
brought me back to what Bates said about Vershinin. He may not be
the best fighter, but he is the best at being what everyone needs
him to be.
This got me to thinking- What is Vershinin molding himself to be
for each or the sisters. For Olga he may be trying to assure her
that her father was a wonderful soldier taught him to be a
fantastic soldier. His current rank is a reflection of that
initial training he received. I think his fills a rather large
vacuum in Masha's life by becoming her lover and Ideal man. What
happens when parts of one role interfere with another. When
infidelity stops me from looking like the best soldier I possibly
can be in act four, I have to strive against Olga who is using
things I am ashamed of as proof of my poor discipline.
is about an Ace marine fighter pilot Bull Meecham and his family of four
children. This mans children have loads of resentment for him because
every year or so the children must uproot their entire lives and move to a
completely new place. This resentment is counter balanced by Bull's rigid
dicipline and his wife's unwavering love and devotion to him and the
family. Vershinin undoubtedly has had to move his family all about Russia.
In fact this could be the very reason she is so miserable and wishes to
kill her self so often. As the children in the novel explain it is so
difficult to get close to any one and then move away from them so quickly.
They kids question why they should make friends when those friends will be
dead to them in another year or so. The connection between my wife and I
isn't good to begin with. This may have been redeemable except for the
fact that my career takes away all of her friends and other sources or
comfort and love at random times in her life. She is completely alone. No
wonder she wishes to kill herself. To make matters worse, I am almost
wholly responsible for her misery.
Another interesting topic brought up in this book is how officers
lead. The protagonist in the book is considered one of the best
fighter pilots the army has. That being said, he behaves like a
jack ass often and shoots off his mouth when he shouldn't. When
this man leads it is through intimidation and display of power.
However, men that he started in the marines with with have
already surpassed him in rank. These men lead with their
intelligence and wit and were Masters at knowing when it was
smart to bite your tongue and listen. How to appear to be exactly
what their superiors and everyone around them wanted. This
brought me back to what Bates said about Vershinin. He may not be
the best fighter, but he is the best at being what everyone needs
him to be.
This got me to thinking- What is Vershinin molding himself to be
for each or the sisters. For Olga he may be trying to assure her
that her father was a wonderful soldier taught him to be a
fantastic soldier. His current rank is a reflection of that
initial training he received. I think his fills a rather large
vacuum in Masha's life by becoming her lover and Ideal man. What
happens when parts of one role interfere with another. When
infidelity stops me from looking like the best soldier I possibly
can be in act four, I have to strive against Olga who is using
things I am ashamed of as proof of my poor discipline.
the gulf between those who have and have not
here are some contrasting images that blatantly show how much more
desirable moscow (and the society it offered) was to the provincial
lifestyle--especially for those looking for cultural enlightenment and/or
upward mobility (natasha, oh yes)...
http://img.photobucket.com/albums/v250/lord_whimsy/Miscellany%20VIII/p87-4610.jpg
versus
http://images.imagestate.com/Watermark/1527409.jpg
not hard to see the attraction of the latter...
desirable moscow (and the society it offered) was to the provincial
lifestyle--especially for those looking for cultural enlightenment and/or
upward mobility (natasha, oh yes)...
http://img.photobucket.com/albums/v250/lord_whimsy/Miscellany%20VIII/p87-4610.jpg
versus
http://images.imagestate.com/Watermark/1527409.jpg
not hard to see the attraction of the latter...
Akhmatova & D M Thomas
"Nadezhda Mandelstam has this to say about Akhmatova's
preoccupation with the double: 'it was something rooted in her psychology,
a result of her attitude to people--in whom, as in mirrors, she always
sought her own reflection. She looked at people as one might look into a
mirror, hoping to find her own likeness and seeing her "double" in
everybody....Apart from the element of self-centeredness, it was due as
well to another quality which she displayed in high degree: a capacity to
become so passionately involved in others that she had the need to tie
them to herself as closely as possible, to merge herself in them.' "
similarly, as we work to understand our characters and the humanity of the
people we are trying to communicate to the world we talk at length about
the importance of identifying WITH the person/personality rather than
focusing on how FAR we are from them in our own lives and experience. i
found it interesting to have these same thoughts discussed in reference to
an artist in a different realm from us AND a russian one at that.
secondly: another quote from D.M. Thomas's introduction to her selected
poems--"Her incorruptibility as a person is closely linked to her most
fundamental characteristic as a poet: fidelity to things as they are, to
'the clear, familiar, material world'."
i likened this to chekhov's study of the drama of life as we know it. he
explores the theatricality of our down to earth humanity. this is far more
subtle than the average commercial disney musical and therefore far more
difficult in my opinion, but there is SO much to work with. it takes time
and analytical energy to attempt to get to the core of such work, but as
we have begun to discover, it is so rewarding and fascinating--the more we
delve, the more we find.
-jessie
preoccupation with the double: 'it was something rooted in her psychology,
a result of her attitude to people--in whom, as in mirrors, she always
sought her own reflection. She looked at people as one might look into a
mirror, hoping to find her own likeness and seeing her "double" in
everybody....Apart from the element of self-centeredness, it was due as
well to another quality which she displayed in high degree: a capacity to
become so passionately involved in others that she had the need to tie
them to herself as closely as possible, to merge herself in them.' "
similarly, as we work to understand our characters and the humanity of the
people we are trying to communicate to the world we talk at length about
the importance of identifying WITH the person/personality rather than
focusing on how FAR we are from them in our own lives and experience. i
found it interesting to have these same thoughts discussed in reference to
an artist in a different realm from us AND a russian one at that.
secondly: another quote from D.M. Thomas's introduction to her selected
poems--"Her incorruptibility as a person is closely linked to her most
fundamental characteristic as a poet: fidelity to things as they are, to
'the clear, familiar, material world'."
i likened this to chekhov's study of the drama of life as we know it. he
explores the theatricality of our down to earth humanity. this is far more
subtle than the average commercial disney musical and therefore far more
difficult in my opinion, but there is SO much to work with. it takes time
and analytical energy to attempt to get to the core of such work, but as
we have begun to discover, it is so rewarding and fascinating--the more we
delve, the more we find.
-jessie
an actor prepares
This is an introduction to An Actor's Work:Konstantin Stanislavski. It is a contemporary translation by Jean Benedetti of An Actor Prepares and Building a Character.
The intro begins with the story of an actor's dog in Stanislavski's company. The dog always knew what time rehearsal was over at least ten minutes before hand. Stanislavski determined the only way the dog could tell was by hearing. He heard the difference between real life conversation at the end of rehearsal versus fake conversation(Acting).
Declan talks about how Stanislavski was obsessed with finding the aliveness in theatre. It's the same idea about the live sparrow versus a stuffed eagle. How can we get something that is alive?? Donnellan gives a nice introduction to the book and to Stanislavski's teaching. It is inspiring and informative.
The intro begins with the story of an actor's dog in Stanislavski's company. The dog always knew what time rehearsal was over at least ten minutes before hand. Stanislavski determined the only way the dog could tell was by hearing. He heard the difference between real life conversation at the end of rehearsal versus fake conversation(Acting).
Declan talks about how Stanislavski was obsessed with finding the aliveness in theatre. It's the same idea about the live sparrow versus a stuffed eagle. How can we get something that is alive?? Donnellan gives a nice introduction to the book and to Stanislavski's teaching. It is inspiring and informative.
the sea...
This is a wonderful quote from one of Andreyev's diaries.
"The sea...
I had waited patiently and for a long time. I do not know why we, the inhabitants of dry lands, dispatched by our fate and birth into the heart of continents, are always so eager to seek the sea, and even before we have seen it, love it like an old friend from the beginning of time. This love originates in the dark depths of antiquity and glows in our Varangian blood as a vague striving -- this agonizing and sweet love for the infinite, the unknowable, the eternally vital and enigmatic. Every time I look upon the sea, i am overcome by trembling, and i feel an urge to do something that would express both my fear and my rapture and my adoration, fall to my knees, kiss it and quietly ask it for something. It is as if a curtain rises before me and i see that which it is not given to man to see, and that is why I feel so awestruck and happy."
"The sea...
I had waited patiently and for a long time. I do not know why we, the inhabitants of dry lands, dispatched by our fate and birth into the heart of continents, are always so eager to seek the sea, and even before we have seen it, love it like an old friend from the beginning of time. This love originates in the dark depths of antiquity and glows in our Varangian blood as a vague striving -- this agonizing and sweet love for the infinite, the unknowable, the eternally vital and enigmatic. Every time I look upon the sea, i am overcome by trembling, and i feel an urge to do something that would express both my fear and my rapture and my adoration, fall to my knees, kiss it and quietly ask it for something. It is as if a curtain rises before me and i see that which it is not given to man to see, and that is why I feel so awestruck and happy."
more russian imagery
"Repin, Ilya (1844-1930) - 1900 Ceremonial Session of the State Council"
http://www.flickr.com/photos/32357038@N08/3604114348/
"Russian winter 1900-1901"
http://www.flickr.com/photos/gregor_macewan/3763325212/
"Tsar Nicholas II blesses Russian troops before battle"
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7nk_pqBnIhLyZPgkPwVO-oIIQrkpwuSmF-02uD0dra_pwtGkMktQzi8egW9aLe8HaJKfhpvu0oIze6_MSW6WR12sG_OpcITgxJzUzbB-DxmwVI742_bIUl4XGjkHQSWBYKRozopT21OQ/s1600/NicholasIIBlessingTroopsJapaneseWar148thKaspianski.jpg
A Classical Russian Army Dance
http://www.youtube.com/watch?v=5WpYWpN0VXU
Contemporary Russian Soldiers having fun
http://www.youtube.com/watch?v=7hECwEKG34k
Russian Soliders practicing marching
http://www.youtube.com/watch?v=7-rELX_GD6I
"Amazing Russian Military Parade Video Edit"
http://www.youtube.com/watch?v=mM5YvBpTvWQ&playnext=1&list=PLB3D382A9DB35BE49&index=52
http://www.flickr.com/photos/32357038@N08/3604114348/
"Russian winter 1900-1901"
http://www.flickr.com/photos/gregor_macewan/3763325212/
"Tsar Nicholas II blesses Russian troops before battle"
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7nk_pqBnIhLyZPgkPwVO-oIIQrkpwuSmF-02uD0dra_pwtGkMktQzi8egW9aLe8HaJKfhpvu0oIze6_MSW6WR12sG_OpcITgxJzUzbB-DxmwVI742_bIUl4XGjkHQSWBYKRozopT21OQ/s1600/NicholasIIBlessingTroopsJapaneseWar148thKaspianski.jpg
A Classical Russian Army Dance
http://www.youtube.com/watch?v=5WpYWpN0VXU
Contemporary Russian Soldiers having fun
http://www.youtube.com/watch?v=7hECwEKG34k
Russian Soliders practicing marching
http://www.youtube.com/watch?v=7-rELX_GD6I
"Amazing Russian Military Parade Video Edit"
http://www.youtube.com/watch?v=mM5YvBpTvWQ&playnext=1&list=PLB3D382A9DB35BE49&index=52
dancing officers
"Russian Army Officers Dining Outdoors"
http://www.corbisimages.com/Enlargement/HU011781.html
http://www.corbisimages.com/Enlargement/HU011781.html
weaponry
"A captured Russian Maxim 1910 heavy machinegun is examined by German
soldiers in a dugout"
http://www.flickr.com/photos/29007475@N08/4250410796/
soldiers in a dugout"
http://www.flickr.com/photos/29007475@N08/4250410796/
now & then
"Now and then"
http://englishrussia.com/index.php/2009/05/11/st-petersburg-now-and-then-2/
http://englishrussia.com/index.php/2009/05/11/st-petersburg-now-and-then-2/
3 more images
"Country side outside St. Petersburg"
http://picasaweb.google.com/lh/photo/FrLc43Zq12p0s0w5DSewsA
"A dog in a poor woman´s house outside St. Petersburg. Russia"
http://www.imagestate.com/Preview/PreviewPage.aspx?id=2027889
"House"
http://i.ytimg.com/vi/002UUU5vXX8/0.jpg
http://picasaweb.google.com/lh/photo/FrLc43Zq12p0s0w5DSewsA
"A dog in a poor woman´s house outside St. Petersburg. Russia"
http://www.imagestate.com/Preview/PreviewPage.aspx?id=2027889
"House"
http://i.ytimg.com/vi/002UUU5vXX8/0.jpg
Garden
"Garden outside Misha's dacha in the countryside bordering St Petersburg"
http://picasaweb.google.com/lh/photo/E-qMCFA7mNmx3Afl3WZHDA
http://picasaweb.google.com/iain.struthers/StPetersburgRussia27June2007#5116784164448486914
http://picasaweb.google.com/iain.struthers/StPetersburgRussia27June2007#5116784207398159890
http://picasaweb.google.com/lh/photo/E-qMCFA7mNmx3Afl3WZHDA
http://picasaweb.google.com/iain.struthers/StPetersburgRussia27June2007#5116784164448486914
http://picasaweb.google.com/iain.struthers/StPetersburgRussia27June2007#5116784207398159890
Who played YOUR role?
Just something useful to do, even when sorting for character observations:
Who has played your role in the past? It's something I remembered was on
the checklist of textwork from Barbara's Freshman Acting Classes. The
specific actors who were cast and played the roles can be found, either
from the Broadway Stage, on broadwayworld.com or ibdb.com, or in Film on
imdb.com, listing the years and even understudies. Here's example lists of
Tuzenbach:
http://broadwayworld.com/people/character.php?cid=114994&prod_id=322145
http://www.imdb.com/character/ch0207583/
Looking through an actor's resume of work can steer you in the direction
of what generally the character is thought how to be portrayed and viewed
by the audience. Or even when your stuck in thinking what a character
can't be, just a broader view of an actor's range (or sometimes lack there
of) can inspire a change or a stretch within yourself. Pictures of the
past actors can reflect on who/what type of person the character is as
well.
-Dylan
Who has played your role in the past? It's something I remembered was on
the checklist of textwork from Barbara's Freshman Acting Classes. The
specific actors who were cast and played the roles can be found, either
from the Broadway Stage, on broadwayworld.com or ibdb.com, or in Film on
imdb.com, listing the years and even understudies. Here's example lists of
Tuzenbach:
http://broadwayworld.com/people/character.php?cid=114994&prod_id=322145
http://www.imdb.com/character/ch0207583/
Looking through an actor's resume of work can steer you in the direction
of what generally the character is thought how to be portrayed and viewed
by the audience. Or even when your stuck in thinking what a character
can't be, just a broader view of an actor's range (or sometimes lack there
of) can inspire a change or a stretch within yourself. Pictures of the
past actors can reflect on who/what type of person the character is as
well.
-Dylan
CLassical Theater of Harlem
Here are some reviews on the Classical Theatre of Harlem's production of Three Sisters. it just goes to show how delicate this work is.
http://www.curtainup.com/3sistersharlem09.html
http://www.villagevoice.com/2009-02-25/theater/three-sisters-at-classical-theatre-of-harlem/
http://www.theatermania.com/off-broadway/reviews/02-2009/three-sisters_17633.html
http://www.curtainup.com/3sistersharlem09.html
http://www.villagevoice.com/2009-02-25/theater/three-sisters-at-classical-theatre-of-harlem/
http://www.theatermania.com/off-broadway/reviews/02-2009/three-sisters_17633.html
Libbey Appel
Here's a web series/documentary I found about director, Libbey Appel's, passion for Chekhov and his work. It also has interviews of Appel and some notable actors from the Oregon Shakespeare Festival.
PART 1- http://www.youtube.com/watch?v=j-BxaMYJu3k&feature=related
PART 2- http://www.youtube.com/watch?v=DnJQkl3Cg9A&feature=channel
PART 3- http://www.youtube.com/watch?v=IMPZoR-0wxw&feature=channel
PART 1- http://www.youtube.com/watch?v=j-BxaMYJu3k&feature=related
PART 2- http://www.youtube.com/watch?v=DnJQkl3Cg9A&feature=channel
PART 3- http://www.youtube.com/watch?v=IMPZoR-0wxw&feature=channel
soul
I was searching through this website http://www.goehner.com/russinfo.htm which was talking about the cultural contrasts between Americans and Russians. i found this piece of info called the russian soul and i think it would be great if we could all internalize this and put it to some use :). Just something to think about.!
Russian Soul
The Russian soul has been described as: sensitive, revere, imaginative, an inclination to tears [but not publicly], compassionate, submissive mingled with stubbornness, patience that permits survival in what would seem to be unbearable circumstances, poetic, mysticism, fatalism, a penchant for walking the dark, introspective, sudden unmotivated cruelty, mistrust of rational thought, fascination - the list goes on. Russians maintain their integrity in a way that conforms to their inner notion of what a human being should be, with a blatant honesty and integrity seldom seen elsewhere in the world. Above all they have an appreciation for wholeness or complete commitment and faith, no matter what that faith might be related to.
Russian Soul
The Russian soul has been described as: sensitive, revere, imaginative, an inclination to tears [but not publicly], compassionate, submissive mingled with stubbornness, patience that permits survival in what would seem to be unbearable circumstances, poetic, mysticism, fatalism, a penchant for walking the dark, introspective, sudden unmotivated cruelty, mistrust of rational thought, fascination - the list goes on. Russians maintain their integrity in a way that conforms to their inner notion of what a human being should be, with a blatant honesty and integrity seldom seen elsewhere in the world. Above all they have an appreciation for wholeness or complete commitment and faith, no matter what that faith might be related to.
quotes of Tolstoy
Here are some insightful quotes from Leo Tolstoy. Tolstoy was a very influential philospher, novelist, playwright in russia while Chekhov was still around, maybe he was of some influence. check it out. some of the quotes are complete summaries of certain relationships in The Three Sisters:
“What counts in making a happy marriage is not so much how compatible you are, but how you deal with incompatibility.”
“Everyone thinks of changing the world, but no one thinks of changing himself.”
“If one loves, one loves the whole person as he or she is, and not as one might wish them to be.”
“He had heard that women often love plain ordinary men, but he did not believe it, because he judged by himself and he could only love beautiful mysterious exceptional women.”
“Pure and complete sorrow is as impossible as pure and complete joy.”
“What a strange illusion it is to suppose that beauty is goodness! A beautiful woman utters absurdities: we listen, and we hear not the absurdities but wise thoughts
“Joy can be real only if people look upon their life as a service, and have a definite object in life outside themselves and their personal happiness”
“Faith is the sense of life, that sense by virtue of which man does not destroy himself, but continues to live on. It is the force whereby we live.”
“Music is the shorthand of emotion.”
“All happy families are alike; each unhappy family is unhappy in its own way”
“What counts in making a happy marriage is not so much how compatible you are, but how you deal with incompatibility.”
“Everyone thinks of changing the world, but no one thinks of changing himself.”
“If one loves, one loves the whole person as he or she is, and not as one might wish them to be.”
“He had heard that women often love plain ordinary men, but he did not believe it, because he judged by himself and he could only love beautiful mysterious exceptional women.”
“Pure and complete sorrow is as impossible as pure and complete joy.”
“What a strange illusion it is to suppose that beauty is goodness! A beautiful woman utters absurdities: we listen, and we hear not the absurdities but wise thoughts
“Joy can be real only if people look upon their life as a service, and have a definite object in life outside themselves and their personal happiness”
“Faith is the sense of life, that sense by virtue of which man does not destroy himself, but continues to live on. It is the force whereby we live.”
“Music is the shorthand of emotion.”
“All happy families are alike; each unhappy family is unhappy in its own way”
politics & costuming
I thought it was interesting to find out what was going on in Russian
politics both before and after our play.
http://russianmodernism.wetpaint.com/page/A+History+of+19th+and+20th+Century+Russia
http://www.costumes.org/history/100pages/camerongallery.htm
Real clothing pieces from Russia both before and after the Russian
Revolution.
politics both before and after our play.
http://russianmodernism.wetpaint.com/page/A+History+of+19th+and+20th+Century+Russia
http://www.costumes.org/history/100pages/camerongallery.htm
Real clothing pieces from Russia both before and after the Russian
Revolution.
military uniforms
I found some pictures of Russian Military uniforms, and I thought they
would be interesting to share with the boys.
http://www.russianswords.com/cherk-cossack1.JPG
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnBh3WH031SFfwqNLPvr9iCug2JlQTC76Ml9DvHtQs3sXwD7cc01FP53mwLnrFCjPR3g8WsCYEK1HGgt5OnC8oxeBZ_IYIK2vc1Mnr1izxGOgVVaVQMyZWwkiwwsAt4GSrf9mzp5GSQw8/s1600/HU052601.jpg
This is a picture of Tsar Nicholas the second
http://wwwdelivery.superstock.com/WI/223/1788/PreviewComp/SuperStock_1788-1019.jpg
would be interesting to share with the boys.
http://www.russianswords.com/cherk-cossack1.JPG
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnBh3WH031SFfwqNLPvr9iCug2JlQTC76Ml9DvHtQs3sXwD7cc01FP53mwLnrFCjPR3g8WsCYEK1HGgt5OnC8oxeBZ_IYIK2vc1Mnr1izxGOgVVaVQMyZWwkiwwsAt4GSrf9mzp5GSQw8/s1600/HU052601.jpg
This is a picture of Tsar Nicholas the second
http://wwwdelivery.superstock.com/WI/223/1788/PreviewComp/SuperStock_1788-1019.jpg
Saturday, November 27, 2010
Ta Ra Ra...
Here is an English advertisement from the late 1890's for "Bromo-Seltzer." The advertisement is interesting because it is showing a woman being healed by the medicine, and she rejoices by singing and dancing to "Ta Ra Ra Boom Deay." I think the advertisement actually captures some of the happy and silly inner life Chebutykin has throughout Act IV.
-Corey
Monday, November 22, 2010
Wood on Chekhov
this might be interesting for peeps to read. not specifically looking at
any one piece of chekhov's but even looking at some of the snippets from
his notebooks are intriguing--to see what sorts of things struck him.
every little bit helps in understanding what he was about...
http://home.clara.net/stevebrown/html/wood_on_chekhov.htm
-jessie
any one piece of chekhov's but even looking at some of the snippets from
his notebooks are intriguing--to see what sorts of things struck him.
every little bit helps in understanding what he was about...
http://home.clara.net/stevebrown/html/wood_on_chekhov.htm
-jessie
TO THE ACTOR
i have begun reading Michael Chekhov's TO THE ACTOR in my limited amount
of spare time (therefore not getting nearly as far into it as i would like
to) and i have come across a few things already that i find to be very
useful reminders and that i thought my fellow classmates might find
helpful too...
-> one can only understand the art of acting through PRACTICE. we can talk
and analyze things for as long as we want, but something i like about
chekhov's approach-and also something i discovered in my limited
suzuki/kabuki training of this summer--is that these schoolings advocate
DOING. learning through getting up and trying something no matter how
bizarre it might be.
-> we are in college and there is unquestionably an varying amount of
partying/lack of sleep/etc that occurs for everyone. my point in saying
this is referring to chekhov's stress on the importance of the physical
aptitude of the actor. it's not so much that our body is a temple and
should never be touched by the forces of the outside world...BUT we must
be strong, flexible and healthy in order to carry out whatever our
imaginations might demand of us. he places importance on the "sensitivity
of body to the psychological impulses." which brings me to my next
point...
-> we as actors must strive for harmony between body and psychology--to
find the balance between spontaneity and over-intellectualization. there
is a lot of work to be done with any text so one can never purely rely on
their physical efforts to carry them through. likewise, if we sequester
ourselves to the pages of our text work without entangling with our scene
partners, etc. everyone will be left wanting.
much of this we've discussed in class already, but to hear it again
through someone else's words and reprocess i find valuable so...there ya
go!
-jessie
of spare time (therefore not getting nearly as far into it as i would like
to) and i have come across a few things already that i find to be very
useful reminders and that i thought my fellow classmates might find
helpful too...
-> one can only understand the art of acting through PRACTICE. we can talk
and analyze things for as long as we want, but something i like about
chekhov's approach-and also something i discovered in my limited
suzuki/kabuki training of this summer--is that these schoolings advocate
DOING. learning through getting up and trying something no matter how
bizarre it might be.
-> we are in college and there is unquestionably an varying amount of
partying/lack of sleep/etc that occurs for everyone. my point in saying
this is referring to chekhov's stress on the importance of the physical
aptitude of the actor. it's not so much that our body is a temple and
should never be touched by the forces of the outside world...BUT we must
be strong, flexible and healthy in order to carry out whatever our
imaginations might demand of us. he places importance on the "sensitivity
of body to the psychological impulses." which brings me to my next
point...
-> we as actors must strive for harmony between body and psychology--to
find the balance between spontaneity and over-intellectualization. there
is a lot of work to be done with any text so one can never purely rely on
their physical efforts to carry them through. likewise, if we sequester
ourselves to the pages of our text work without entangling with our scene
partners, etc. everyone will be left wanting.
much of this we've discussed in class already, but to hear it again
through someone else's words and reprocess i find valuable so...there ya
go!
-jessie
social strata
the following document was found at--
http://www.blacksacademy.net/content/3750.html
i found it helpful in looking at a bit of the social strata of the time
period, as well as some hints as to family and army life.
http://www.blacksacademy.net/content/3750.html
i found it helpful in looking at a bit of the social strata of the time
period, as well as some hints as to family and army life.
This is an interview with renowned director Trevor Nunn, from "The
Cambridge Companion to Chekhov". He discusses his work on Three Sisters
(one comment being that he never wants to do the play again). There are a
few points to look at in this article, mixed in with the conversation of
it all. One being the reliance on improvisation in the rehearsal process.
Another is the unconventional staging methods, some of which are very
useful for small productions, as in ours, held in an intimate studio
environment. Enjoy.
-Dylan
Alan Bates on Vershinin
He speaks about replacing Robert Stevens for the last leg of the tour and
doing the film version that Oliver created.
Alan says of Vershinin
"Vershinin is this figure who almost becomes a fantasy a mirage for the
three sisters. Particularly, of course, for Masha who falls in love with
him. And he… plays up to that not maliciously… not he’s just someone who
lives out an idea of himself or someone else’s idea of himself. It’s a
stran… He’s almost like drifting though life and letting it all happen to
him. And he plays the role that the circumstances give him. And I think
that’s th difficulty of playing him and also the sort of mystery of it.
And the ambiguity of him. You can’t quite get him you can’t quite catch
him you know."
Interview
http://www.youtube.com/watch?v=cytL4Sp1zEc
Image of Bates' Vershinin
http://0.gvt0.com/vi/-VpOyZJ93rA/default.jpg
doing the film version that Oliver created.
Alan says of Vershinin
"Vershinin is this figure who almost becomes a fantasy a mirage for the
three sisters. Particularly, of course, for Masha who falls in love with
him. And he… plays up to that not maliciously… not he’s just someone who
lives out an idea of himself or someone else’s idea of himself. It’s a
stran… He’s almost like drifting though life and letting it all happen to
him. And he plays the role that the circumstances give him. And I think
that’s th difficulty of playing him and also the sort of mystery of it.
And the ambiguity of him. You can’t quite get him you can’t quite catch
him you know."
Interview
http://www.youtube.com/watch?v=cytL4Sp1zEc
Image of Bates' Vershinin
http://0.gvt0.com/vi/-VpOyZJ93rA/default.jpg
Gorky on Chekhov
An interesting essay by Gorky on his time with Chekhov.
http://www.imagi-nation.com/moonstruck/clsc6w4.html
http://www.imagi-nation.com/moonstruck/clsc6w4.html
Chekhov Museum
http://en.wikipedia.org/wiki/Chekhov_Gymnasium
The Chekhov museum which was where Chekhov went to school, has some
interesting pictures!
The Chekhov museum which was where Chekhov went to school, has some
interesting pictures!
Rylance & Volley Ball
This is an article from the New York Times this week, staring my favorite
and the always remarkable, Mr. Mark Rylance. A discussion on how to keep
an actor's work feeling fresh and full of discoveries. A small look into
Mark's acting process, and helpful as we have been doing our scenes for a
little while, to push forward to finding new things. Read on...
-Dylan
http://www.nytimes.com/2010/11/16/theater/16improv.html
and the always remarkable, Mr. Mark Rylance. A discussion on how to keep
an actor's work feeling fresh and full of discoveries. A small look into
Mark's acting process, and helpful as we have been doing our scenes for a
little while, to push forward to finding new things. Read on...
-Dylan
http://www.nytimes.com/2010/11/16/theater/16improv.html
Early 1900's Russian Paintings
These paintings were done at the turn of the century by famous Russian artists, and remind me specifically of our production.
Trees- 1903 Chiurlionis
Woman with dog- 1903 Kustodiev
Woman with stroller- 1903 Malevich
Here's the link to the website. You can check out Russian artwork from other decades-- http://www.katardat.org/russiarts/1900_1904/index.html
Russian Winter
What we have to look forward to...
http://englishrussia.com/index.php/2010/11/12/the-winter-has-come/#more-23889
http://englishrussia.com/index.php/2010/11/12/the-winter-has-come/#more-23889
Lost in Translation...
From an article called:
20 Awesomely Untranslatable Words from Around the World
1. Toska
Russian – Vladmir Nabokov describes it best: “No single word in English renders all the shades of toska. At its deepest and most painful, it is a sensation of great spiritual anguish, often without any specific cause. At less morbid levels it is a dull ache of the soul, a longing with nothing to long for, a sick pining, a vague restlessness, mental throes, yearning. In particular cases it may be the desire for somebody of something specific, nostalgia, love-sickness. At the lowest level it grades into ennui, boredom.”
20 Awesomely Untranslatable Words from Around the World
1. Toska
Russian – Vladmir Nabokov describes it best: “No single word in English renders all the shades of toska. At its deepest and most painful, it is a sensation of great spiritual anguish, often without any specific cause. At less morbid levels it is a dull ache of the soul, a longing with nothing to long for, a sick pining, a vague restlessness, mental throes, yearning. In particular cases it may be the desire for somebody of something specific, nostalgia, love-sickness. At the lowest level it grades into ennui, boredom.”
Russian Estate
First off- I found an awesome website- EnglishRussia.com... check it out.
Here are a few pictures of an old estate in Russia that was destroyed by a hurricane this past August. I thought the image of a Russian house destroyed might give us something to think about when we're look at the sisters home. Obviously the house wouldn't look like this, but maybe this is what Masha sees?
http://englishrussia.com/index.php/2010/11/19/an-interesting-history-of-one-estate/#more-25713
Here are a few pictures of an old estate in Russia that was destroyed by a hurricane this past August. I thought the image of a Russian house destroyed might give us something to think about when we're look at the sisters home. Obviously the house wouldn't look like this, but maybe this is what Masha sees?
http://englishrussia.com/index.php/2010/11/19/an-interesting-history-of-one-estate/#more-25713
Wednesday, November 17, 2010
Constellation Chekhov
Three Sisters
JANUARY 27, 2010 BY DEBBIE JACKSON
Chekhov’s Three Sisters is a classic rumination about life, death, and
everything in between. Constellation Theatre has now put its indelible
mark on the tale, immersing the story in perfectly paced physical
movement, well tuned comedic interludes, and tender sensibility, all with
an epic-size ensemble.
In the opening scene, from their particular spots on stage, even before a
word is spoken, each of the three sisters exudes a strong sense of her
character and what she’s all about. And that’s a particular Constellation
marking – establishing a character base from the inside so that each
utterance, expression, and especially the performer’s movements come
across as real and authentic, directly attributable to keen direction by
Allison Arkell Stockman.
Of course, it helps to have such accomplished actors in all the roles,
each having the chops to tackle portraying the evolutions of the
characters and their emotional stages throughout their lives.
Nanna Ingvarsson as older sister Olga is a marvel to watch as pseudo
matriarch of the family. She is the underlying strength that holds the
family together even when she feels close to unraveling herself.
Catherine Deadman plays middle sister Masha with a smoldering intensity
with as many quietly observed reaction moments as she has text. Masha
probably has the most complex inner story in that she’s never satisfied
although we don’t really know why, she probably doesn’t either, and
Deadman does a great job portraying her conflicted pursuits. Amy Quiggins
plays baby sister Irina with exuberance and adorable appeal. More than
just a pretty face with kewpie doll lips, Quiggins’ sparkling eyes
actually gently fade with the toll of time and the hardship of watching
her family plummet from heights to bare sustenance. The actresses
convincingly relay a loving supportive relationship with each other with
an almost palpable bond.
Renowned veteran Annie Houston adds professional heft in her role as long
time housekeeper, and all time favorite actress Katy Carkuff tackles the
juicy role of Natasha, the sister-in-law who transforms from meek and
gentle to Ivana the Terrible once married with children. Natasha is the
only one bringing a fertile legacy to the family– she knows it, and she
brandishes her offspring like a sword and shield. Carkuff’s backyard yell
when calling one of the children off stage sounds like a battle cry
intending to take no prisoners, and she swaggers with an “I’m in Charge”
demeanor—in heels.
Each of the male actors brings his own strength and style to bear, and
they all complement each other as well. Powerhouse Brian Hemmingsen as
the Army Doctor ignites his role with a roaring baritone voice and head
strong approach. Joe Brack, on the other hand, is the hesitant, cagey and
unsure brother, Andrei, while Ashley Ivey is constantly making do as
Masha’s patient pathetic high school teacher husband. Each comfortably
fits within the constellation of the many characters, love interests,
barons, captains, and lieutenants who Stockman moves across the stage with
determination and purpose.
Even the modern translation by Lanford Wilson works in favor of this
young, robust company. The characters dream of love, of escape to Moscow
or from loneliness, they yearn for safety and security, but also for
purpose. “We were put here to work.” says one. Without work, there is no
purpose or sense of self. The characters live out this sentiment with a
strong zest for life and a quest for meaning in everything they do—whether
celebrating Irina’s coming of age during Saint’s Day, frolicking and
making merry to a sudden spattering of music, or busting a treasured
family heirloom to smithereens to make a point, the actors approach the
scenes with deeply felt clarity, and fill each moment with energy and
purpose.
That’s one of the joys of this company, watching their approach to the
text, how the actors bring energy to the script, and seeing how moments
come to life, all staged with gallantry and style on a make-do budget on a
shoestring.
The set by A.J. Guban, who also designed the spot-on lighting, consists of
multiple platform tiers that help establish distinct portions of the
house. In true multitasking style, rolling a couple of beds converts the
dining area with complete setting for over twelve in the first act to a
cozy upstairs bedroom in the second. The dining arrangement deserves
special mention with the elegant tablecloth and glassware atop a sturdy
wooden frame with benches for chairs. It is practical, of course, but
it’s also a perfect metaphor for the company’s ability to depict earthy
naturalism intermixed with elegance and style.
Speaking of which, costume designer Ivania Stack has gone all out with the
period dresses. Irina is the symbol of chaste young purity in her lacey
white frock. When the good times roll, the sisters’ dresses reflect the
bounty in shimmery fabric fit for queens, beautifully tailored with cuffs
and embroidered seams, and buttons galore. Likewise, when times become
more austere, the checkered plaids come out along with aprons and sensible
attire. That’s what makes the sumptuous mustard colored dress that
Natasha wears so striking towards the end– she’s the only one so endowed
in a startling contrast, a clarion call message that she—and her precious
offspring—will be the last ones standing.
Each act reflects a different stage of life—from the young hopeful
exuberant spring, and ending nearly five years later in the desolate,
nearly despairing Fall with cold winter quickly approaching. Here, as in
The Cherry Orchard, a precious orchard is threatened to be cut down to
make way for progress and opening the land, change is as imminent as frost
is in the air. Still, there is a resilience that comes through, with the
message that no matter how life runs its course, even in despair, each
passing moment, like a flickering candle, is precious.
Even in its young tenure, Constellation Theatre Company is already
embodying that sentiment, and continues to be the company to watch. The
final play of its third season, The Ramayana, “India’s Epic Tale of
Passion and Adventure” promises to be a perfect showcase for
Constellation’s mythical, epic, and exuberant style. It just doesn’t get
much better than that.
Three Sisters
Written by Anton Chekhov, translated by Lanford Wilson
Directed by Allison Arkell Stockman
Produced by Constellation Theatre
Reviewed by Debbie Minter Jackson
Loving it, Lucia.
JANUARY 27, 2010 BY DEBBIE JACKSON
Chekhov’s Three Sisters is a classic rumination about life, death, and
everything in between. Constellation Theatre has now put its indelible
mark on the tale, immersing the story in perfectly paced physical
movement, well tuned comedic interludes, and tender sensibility, all with
an epic-size ensemble.
In the opening scene, from their particular spots on stage, even before a
word is spoken, each of the three sisters exudes a strong sense of her
character and what she’s all about. And that’s a particular Constellation
marking – establishing a character base from the inside so that each
utterance, expression, and especially the performer’s movements come
across as real and authentic, directly attributable to keen direction by
Allison Arkell Stockman.
Of course, it helps to have such accomplished actors in all the roles,
each having the chops to tackle portraying the evolutions of the
characters and their emotional stages throughout their lives.
Nanna Ingvarsson as older sister Olga is a marvel to watch as pseudo
matriarch of the family. She is the underlying strength that holds the
family together even when she feels close to unraveling herself.
Catherine Deadman plays middle sister Masha with a smoldering intensity
with as many quietly observed reaction moments as she has text. Masha
probably has the most complex inner story in that she’s never satisfied
although we don’t really know why, she probably doesn’t either, and
Deadman does a great job portraying her conflicted pursuits. Amy Quiggins
plays baby sister Irina with exuberance and adorable appeal. More than
just a pretty face with kewpie doll lips, Quiggins’ sparkling eyes
actually gently fade with the toll of time and the hardship of watching
her family plummet from heights to bare sustenance. The actresses
convincingly relay a loving supportive relationship with each other with
an almost palpable bond.
Renowned veteran Annie Houston adds professional heft in her role as long
time housekeeper, and all time favorite actress Katy Carkuff tackles the
juicy role of Natasha, the sister-in-law who transforms from meek and
gentle to Ivana the Terrible once married with children. Natasha is the
only one bringing a fertile legacy to the family– she knows it, and she
brandishes her offspring like a sword and shield. Carkuff’s backyard yell
when calling one of the children off stage sounds like a battle cry
intending to take no prisoners, and she swaggers with an “I’m in Charge”
demeanor—in heels.
Each of the male actors brings his own strength and style to bear, and
they all complement each other as well. Powerhouse Brian Hemmingsen as
the Army Doctor ignites his role with a roaring baritone voice and head
strong approach. Joe Brack, on the other hand, is the hesitant, cagey and
unsure brother, Andrei, while Ashley Ivey is constantly making do as
Masha’s patient pathetic high school teacher husband. Each comfortably
fits within the constellation of the many characters, love interests,
barons, captains, and lieutenants who Stockman moves across the stage with
determination and purpose.
Even the modern translation by Lanford Wilson works in favor of this
young, robust company. The characters dream of love, of escape to Moscow
or from loneliness, they yearn for safety and security, but also for
purpose. “We were put here to work.” says one. Without work, there is no
purpose or sense of self. The characters live out this sentiment with a
strong zest for life and a quest for meaning in everything they do—whether
celebrating Irina’s coming of age during Saint’s Day, frolicking and
making merry to a sudden spattering of music, or busting a treasured
family heirloom to smithereens to make a point, the actors approach the
scenes with deeply felt clarity, and fill each moment with energy and
purpose.
That’s one of the joys of this company, watching their approach to the
text, how the actors bring energy to the script, and seeing how moments
come to life, all staged with gallantry and style on a make-do budget on a
shoestring.
The set by A.J. Guban, who also designed the spot-on lighting, consists of
multiple platform tiers that help establish distinct portions of the
house. In true multitasking style, rolling a couple of beds converts the
dining area with complete setting for over twelve in the first act to a
cozy upstairs bedroom in the second. The dining arrangement deserves
special mention with the elegant tablecloth and glassware atop a sturdy
wooden frame with benches for chairs. It is practical, of course, but
it’s also a perfect metaphor for the company’s ability to depict earthy
naturalism intermixed with elegance and style.
Speaking of which, costume designer Ivania Stack has gone all out with the
period dresses. Irina is the symbol of chaste young purity in her lacey
white frock. When the good times roll, the sisters’ dresses reflect the
bounty in shimmery fabric fit for queens, beautifully tailored with cuffs
and embroidered seams, and buttons galore. Likewise, when times become
more austere, the checkered plaids come out along with aprons and sensible
attire. That’s what makes the sumptuous mustard colored dress that
Natasha wears so striking towards the end– she’s the only one so endowed
in a startling contrast, a clarion call message that she—and her precious
offspring—will be the last ones standing.
Each act reflects a different stage of life—from the young hopeful
exuberant spring, and ending nearly five years later in the desolate,
nearly despairing Fall with cold winter quickly approaching. Here, as in
The Cherry Orchard, a precious orchard is threatened to be cut down to
make way for progress and opening the land, change is as imminent as frost
is in the air. Still, there is a resilience that comes through, with the
message that no matter how life runs its course, even in despair, each
passing moment, like a flickering candle, is precious.
Even in its young tenure, Constellation Theatre Company is already
embodying that sentiment, and continues to be the company to watch. The
final play of its third season, The Ramayana, “India’s Epic Tale of
Passion and Adventure” promises to be a perfect showcase for
Constellation’s mythical, epic, and exuberant style. It just doesn’t get
much better than that.
Three Sisters
Written by Anton Chekhov, translated by Lanford Wilson
Directed by Allison Arkell Stockman
Produced by Constellation Theatre
Reviewed by Debbie Minter Jackson
Loving it, Lucia.
mashamashamasha...
"Masha probably has the most complex inner story in that she’s never
satisfied although we don’t really know why, she probably doesn’t either .
. ."
I read this and I literally yelled. This snippet is exactly how I think of
Masha. She is constantly searching for something better in her life and
Vershinin is her last chance; but as we all know, that doesn't work out.
But this made me think about life after the play ends. Will Masha continue
to look for something else, or has Vershinin's love shaken her forever? I
think she cannot stop the want to search for something better; because
after the soldiers leave, she is left where she was before, but with a
shattered heart.
~lu
satisfied although we don’t really know why, she probably doesn’t either .
. ."
I read this and I literally yelled. This snippet is exactly how I think of
Masha. She is constantly searching for something better in her life and
Vershinin is her last chance; but as we all know, that doesn't work out.
But this made me think about life after the play ends. Will Masha continue
to look for something else, or has Vershinin's love shaken her forever? I
think she cannot stop the want to search for something better; because
after the soldiers leave, she is left where she was before, but with a
shattered heart.
~lu
Intterrrview.
Yannick Legault’s interview with Wajdi Mouawad (He just directed The Three Sisters at the international Chekov Festival)
– What and who does Chekhov want his characters to reconcile with?
– With the failure of their own lives. He wants to develop the sense of humor that helps them laugh at themselves and at their ridiculous habit of believing that happiness is possible while in point of fact being wrong about everything, first and foremost about love.
– Are Chekhov’s characters capable of provoking additional social enmities and if so, what kind of enmities are they?
– Possibly there was a time when they could. But not anymore, after the great ideals have fallen into oblivion. It is impossible nowadays to take an aristocrat seriously. There was the time when the conflict between Natasha and Irina was possible. But not today. There are no Irinas left, only the Natashas and even they are not quite the same as before. The Natashas of today are those who have forgotten who they were and consider themselves to be Irinas. Their men are ugly and bad-mannered and they are greedy for material wealth – posh cars, stylish telephones and money. Their wardrobes are exhibitions of bad taste which is especially perilous as bad taste and humor are incompatibles.
– Would it be fair to say that politically Chekhov is close to you and if so what is the nature of this closeness?
– Chekhov is close to me due to his bonds with nature, his attitude toward human misery. I think in this sense Chekhov developed some kind of responsiveness that I find absolutely amazing.
– Chekhov is often classed as an insurgent in theatre in much the same way as some of his characters, Petya Trofimov for instance, are labeled revolutionaries. Do you agree with such interpretations?
– I believe he invented his own orchard, the kind of orchard that didn’t exist before him. In my opinion there have been four orchards in the Western theatre: those of Sophocles, Shakespeare, Chekhov and Beckett. Chekhov’s orchard is inhabited by ordinary people sharing the existential emptiness and confronted with mediocre milieu. Having nothing better to do, they are laughing at all this through tears. And this is a truly revolutionary orchard. Chekhov depicts the tragedy of mere mortals. They are no longer kings or queens. They are just people.
russian revolution
This is a link to a power point. It contains brief descriptions of the times leading up to the russian revolution. It's like a study guide or class project.
http://webcache.googleusercontent.com/search?q=cache:VIjDCxujms8J:thegoldzone.wikispaces.com/file/view/Russian%2BRevolution%2B8-6.ppt+young+soldiers+in+russia+1900&cd=3&hl=en&ct=clnk&gl=us&client=safari
http://webcache.googleusercontent.com/search?q=cache:VIjDCxujms8J:thegoldzone.wikispaces.com/file/view/Russian%2BRevolution%2B8-6.ppt+young+soldiers+in+russia+1900&cd=3&hl=en&ct=clnk&gl=us&client=safari
more of Masha's poem
"On the scoop of the shore..." bit is from Alexander Pushkin's epic
fairytale about the abduction of Prince Vladimir of Kiev's daughter,
Ludmilla, by an evil wizard and the attempt by the brave knight Ruslan to
find and rescue her. Published in 1820, it is composed of 6 cantos.
I found it very interesting and helpful that a golden ring in the fairy
tale is magic and can bring the kidnapped Ludmilla back to life from her
deep trance. Its amazing that to Masha, the 'gold chain' is limiting and
hurting those around, but to Ruslan, it can save his love.
If you want to read the entire fairy tale :
http://russian-crafts.com/tales/rus_lud.html.
~Lucia
fairytale about the abduction of Prince Vladimir of Kiev's daughter,
Ludmilla, by an evil wizard and the attempt by the brave knight Ruslan to
find and rescue her. Published in 1820, it is composed of 6 cantos.
I found it very interesting and helpful that a golden ring in the fairy
tale is magic and can bring the kidnapped Ludmilla back to life from her
deep trance. Its amazing that to Masha, the 'gold chain' is limiting and
hurting those around, but to Ruslan, it can save his love.
If you want to read the entire fairy tale :
http://russian-crafts.com/tales/rus_lud.html.
~Lucia
Monday, November 15, 2010
DC 3
I believe you mentioned this article the other day--i wish i spoke
russian. it would be fascinating to see this production and get a sense of
what is lost/altered in translation. i also attached a couple pictures of
the production and a picture of the man himself.
British director Donnellan satisfies with 'Three Sisters' at Kennedy Center
By Peter Marks
Washington Post Staff Writer
Thursday, October 21, 2010; C01
"Moscow, Moscow, Moscoooow!" murmurs sick-at-heart Irina in the closing
minutes of Act 1 of director Declan Donnellan's gorgeously observed "Three
Sisters." It's the play's rallying cry, its articulation of eternal
restlessness, here uttered by actress Nelli Uvarova with a churning
anguish -- and a final "Moscow!" expressed as a sigh that gets caught
wrenchingly in her throat.
An American ear may not recognize many of the words spoken in this
splendid production, performed in Anton Chekhov's native tongue by a
superb Russian cast. But the heart surely connects with all the
meticulously realized feeling, the sense of the air being let out of
inflated hopes, in a household of declining fortunes in a
turn-of-the-20th-century Russian backwater.
Donnellan's "Three Sisters" -- with helpful English surtitles -- had its
North American premiere Tuesday night in a lamentably brief engagement in
the Kennedy Center's Eisenhower Theater; the final Washington performance
of the touring production occurred Wednesday night. Unlike so many other
stagings of Chekhov, which can leave you with the impression that you've
passed through a reverent museum exhibit, this one exudes immediacy, the
idea that these neurotic, excitable people from another place and time
breathe the same oxygen as you.
The British director, whose creatively elastic company, Cheek by Jowl, has
produced this version in concert with the Chekhov International Theatre
Festival, enters into a deeply satisfying collaboration with his Slavic
ensemble. In the best interpretations, "Three Sisters" is an aching
experience, funny at times but also profoundly moving, as it becomes ever
clearer for the characters that the more passionately they seek, the less
they'll receive.
An audience feels for their resilience, their vows to commit themselves to
work, their refusals to give up. Donnellan's staging aids in our viewing
them in the clearest light. His set and costume designer, Nick Ormerod,
employs only the sparsest of visual elements: several large panels
depicting houses or trees; a stack of dining room chairs and assorted
small tables; a dollhouse-size model of a home, perhaps evoking the
family's country estate, or the sisters' memories of a happier childhood.
The play's intense personalities loom especially large in this landscape,
whether the portrait is of the spaniel-like devotedness of Masha's husband
Kulygin (Sergey Lanbamin) or the blossoming tyranny of Andrey's wife
Natasha (Ekaterina Sibiryakova).
At the nexus are the sisters, steady Olga (Evgenia Dmitrieva),
disconsolate Masha (Anna Khalilulina) and vibrant Irina. As they moan and
fuss and flutter, you're drawn into an authentic-seeming symbiosis: When
they dissolve in laughter on the floor together, giggling at the
impertinent airs put on by their country bumpkin of a sister-in-law, the
sensation is of three women falling into a familiar and comfortable
pattern. That their contempt in this moment is laced with a perceptible
dread -- Natasha is taking charge of the house in a way none of them is
able -- speaks to the degree of psychological specificity in which the
actresses invest their portrayals.
"Three Sisters" examines both a socioeconomic and metaphorical state of
being: idleness. The play unfolds over several years in the well-to-do
household of the sisters and their brother Andrey (Alexey Dadonov), in
which the question of what to do with one's time -- some characters have
jobs; others boast they've never held one -- seems to be as much a
philosophical issue as a practical one. What's changing is the erosion of
the youthful sense of life stretching in front of them forever. Andrey,
for instance, once thought of as professorial material, has settled for a
bureaucratic job in a small town off the beaten track.
In their orbit in this paralyzed domain are other psychically frozen
people, most notably the military doctor, Chebutykin (Igor Yasulovich), a
drunk so vacant he no longer empathizes with those in his care. Yasulovich
gives the best account I've ever heard of the disturbing speech in which
Chebutykin confesses to feeling nothing after the accidental death of a
patient. "If only I didn't exist," he declares -- not out of guilt, it
seems, so much as the abject meaninglessness of his life.
Donnellan's actors apply to scene after scene a crystalline clarity; you
can feel the excruciating pull of opposing instincts. Khalilulina's
exquisitely played Masha is a case in point. At last stealing an embrace
with the man she loves, the utopian romantic Vershinin (a terrific
Alexander Feklistov), she drops instantly, shockingly to the floor.
Lanbamin's simpering Kulygin is there to scoop her up, and her docility
suggests that she consigns herself to the unsatisfying dimensions of her
fate.
The cumulative emotional effect has its payoff in the last moments of the
play, in the sisters' strangely consoling faith that what they've gone
through has a purpose. "One day people will know the reason for all this
suffering," one of them says -- an affirmation that in this ensemble's
revelatory treatment proves heartbreaking.
Three Sisters
by Anton Chekhov. Directed by Declan Donnellan; lighting, Judith
Greenwood; music, Sergey Chekryzhov. With Andrey Kuzichev. Closed
Wednesday at John F. Kennedy Center for the Performing Arts.
duelling & slappinh
the following is a short article taken from
http://findarticles.com/p/articles/mi_qa3763/is_200009/ai_n8908732/?tag=content;col1
that i thought brought some illumination to the dueling question. i would
be interested to find a copy of the book.
Ritualized Violence Russian Style: The Duel in Russian Culture and Literature
Canadian Slavonic Papers, Sep 2000 by Paul Robinson
Irina Reyfman. Ritualized Violence Russian Style: The Duel in Russian
Culture and Literature. Stanford, CA: Stanford University Press, 1999. xi,
364 pp. Illustrations. Notes. Index. $49.50, cloth.
The duel and its underlying codes of honour are the object of continuing
fascination. In Ritualized Violence Russian Style, Irina Reyfman provides
the first comprehensive history of the duel in Russia, and gives her own
interpretations of why dueling became so popular especially in the
nineteenth century.
The book consists of two parts. The first is a historical overview that
discusses the Russian interpretation of honour in the Imperial era, the
initial reluctance to adopt dueling (which, along with the honour code, is
portrayed as an entirely Western transplant) and its eventual acceptance.
Reyfman provides an exhaustive list of duels, but, as she comments, the
details of many of these duels are unclear and it is impossible for any
purely historical account to be complete. The second part of the book
compensates for this with an analysis of dueling in Russian literature,
especially in the works of Aleksandr Bestuzhev-Marlinsky and Fedor
Dostoevsky. One minor fault with the book is that some terms, such as
bretteur and point d'honneur, are not defined the first time that they are
introduced. Thus, if readers do not already understand the various nuances
of meaning associated with them, they may have trouble following the text
until the meaning of the terms becomes clear subsequently.
Historians who have analysed dueling in European countries have tended to
portray it as a reactionary social phenomenon, designed to reinforce the
dominance of the ruling aristocracy at a time when its social position was
under threat. Reyfman's interpretation is rather different. In her eyes
the duel's popularity in Russia was a result of its ability to protect an
individual's physical inviolability and to act as a protector of
individual rights in a society with inadequate legal safeguards. At one
point she goes so far as to call the honour code "a bill of rights." The
duel owed its rise in Russia, Reyfman claims, to the persistence of
Muscovite traditions of corporal punishment. Senior officials were prone
to slap, punch and beat their subordinates. In pre-Petrine times, such
physical abuse was not interpreted as dishonouring. But under the
influence of Western thinking, Russian nobles began to object more
strongly to this treatment and to guard themselves against it. The duel
was the system of protection that they adopted. Superiors who physically
abused their subordinates would now find themselves being challenged to a
duel, and so were deterred. At the same time a slap became interpreted as
a demand to be challenged. Since duels can only be fought between social
equals, the slapper thereby recognised the person he slapped as an equal.
The slap, once seen as the most humiliating of acts, lost its ability to
humiliate
http://findarticles.com/p/articles/mi_qa3763/is_200009/ai_n8908732/?tag=content;col1
that i thought brought some illumination to the dueling question. i would
be interested to find a copy of the book.
Ritualized Violence Russian Style: The Duel in Russian Culture and Literature
Canadian Slavonic Papers, Sep 2000 by Paul Robinson
Irina Reyfman. Ritualized Violence Russian Style: The Duel in Russian
Culture and Literature. Stanford, CA: Stanford University Press, 1999. xi,
364 pp. Illustrations. Notes. Index. $49.50, cloth.
The duel and its underlying codes of honour are the object of continuing
fascination. In Ritualized Violence Russian Style, Irina Reyfman provides
the first comprehensive history of the duel in Russia, and gives her own
interpretations of why dueling became so popular especially in the
nineteenth century.
The book consists of two parts. The first is a historical overview that
discusses the Russian interpretation of honour in the Imperial era, the
initial reluctance to adopt dueling (which, along with the honour code, is
portrayed as an entirely Western transplant) and its eventual acceptance.
Reyfman provides an exhaustive list of duels, but, as she comments, the
details of many of these duels are unclear and it is impossible for any
purely historical account to be complete. The second part of the book
compensates for this with an analysis of dueling in Russian literature,
especially in the works of Aleksandr Bestuzhev-Marlinsky and Fedor
Dostoevsky. One minor fault with the book is that some terms, such as
bretteur and point d'honneur, are not defined the first time that they are
introduced. Thus, if readers do not already understand the various nuances
of meaning associated with them, they may have trouble following the text
until the meaning of the terms becomes clear subsequently.
Historians who have analysed dueling in European countries have tended to
portray it as a reactionary social phenomenon, designed to reinforce the
dominance of the ruling aristocracy at a time when its social position was
under threat. Reyfman's interpretation is rather different. In her eyes
the duel's popularity in Russia was a result of its ability to protect an
individual's physical inviolability and to act as a protector of
individual rights in a society with inadequate legal safeguards. At one
point she goes so far as to call the honour code "a bill of rights." The
duel owed its rise in Russia, Reyfman claims, to the persistence of
Muscovite traditions of corporal punishment. Senior officials were prone
to slap, punch and beat their subordinates. In pre-Petrine times, such
physical abuse was not interpreted as dishonouring. But under the
influence of Western thinking, Russian nobles began to object more
strongly to this treatment and to guard themselves against it. The duel
was the system of protection that they adopted. Superiors who physically
abused their subordinates would now find themselves being challenged to a
duel, and so were deterred. At the same time a slap became interpreted as
a demand to be challenged. Since duels can only be fought between social
equals, the slapper thereby recognised the person he slapped as an equal.
The slap, once seen as the most humiliating of acts, lost its ability to
humiliate
church
http://www.historylearningsite.co.uk/russian_church.htm
Another interesting link about the Russian Church
Another interesting link about the Russian Church
Arty Russia
http://russia.by/russia.by/readme.php?subaction=showfull&id=1188645271&archive=&start_from=&ucat=24&category=24
Some info on Russian arts in that era. I thought it was important since
there's so many references to art and culture in the Three Sisters.
Some info on Russian arts in that era. I thought it was important since
there's so many references to art and culture in the Three Sisters.
Review
Review of Three sisters Movement Piece: Yes Yes to Moscow!
This piece tries to "probe the sisters' futures within their eternal
present". This review provides very specific descriptions of each sisters
physical vocabulary.
Olga
"The forced optimism of Wilmurt's Olga, the eldest, develops ever deeper
cracks as she tries not to confront her looming spinsterhood as a
provincial schoolteacher in her late 20s and clings to hope in the
possibly radiant future of Irina, the youngest."
Masha
"Kratochwil, often working in German, keeps mining deeper layers of the
resentful, unhappily married Masha. Her giddy, adulterous courtship with
the newly arrived soldier Vershinin, in which she plays both parts, is a
gem. So, too, is the titillated reaction of the sisters when he arrives, a
sharply choreographed trio of flirtatious excess erupting from a military
march."
http://articles.sfgate.com/2008-05-31/entertainment/17156181_1_chekhov-s-olga-chekhov-s-three-art-street-theatre
Irina
"Ulrickson inhabits Irina with a physicality at once flowing and fierce, a
steely determination at times breaking through her sunny youthful
expectancy."
The piece used dance, song, "clinical inquiry"(a man was seated near the
edge of the audience and would frequently interrogate the sisters who were
dressed in hospital gowns), passages from the play, and "sharply focused
acting" to tell the story.
This piece tries to "probe the sisters' futures within their eternal
present". This review provides very specific descriptions of each sisters
physical vocabulary.
Olga
"The forced optimism of Wilmurt's Olga, the eldest, develops ever deeper
cracks as she tries not to confront her looming spinsterhood as a
provincial schoolteacher in her late 20s and clings to hope in the
possibly radiant future of Irina, the youngest."
Masha
"Kratochwil, often working in German, keeps mining deeper layers of the
resentful, unhappily married Masha. Her giddy, adulterous courtship with
the newly arrived soldier Vershinin, in which she plays both parts, is a
gem. So, too, is the titillated reaction of the sisters when he arrives, a
sharply choreographed trio of flirtatious excess erupting from a military
march."
http://articles.sfgate.com/2008-05-31/entertainment/17156181_1_chekhov-s-olga-chekhov-s-three-art-street-theatre
Irina
"Ulrickson inhabits Irina with a physicality at once flowing and fierce, a
steely determination at times breaking through her sunny youthful
expectancy."
The piece used dance, song, "clinical inquiry"(a man was seated near the
edge of the audience and would frequently interrogate the sisters who were
dressed in hospital gowns), passages from the play, and "sharply focused
acting" to tell the story.
Friday, November 12, 2010
russian ID
Russia's search for identity continues...
In the 21st century.
It's interesting how the values of a hundred years ago have been
reinvented thanks to communism and all the wars.
http://www.nytimes.com/2010/11/06/world/europe/06iht-russia.html?ref=design
~olivia
In the 21st century.
It's interesting how the values of a hundred years ago have been
reinvented thanks to communism and all the wars.
http://www.nytimes.com/2010/11/06/world/europe/06iht-russia.html?ref=design
~olivia
Tuesday, November 9, 2010
St. Stanislaus and his medal.
Stanislaus is the Patron Saint of Poland. Born in a town outside of Cracow
he became famous for his preaching abilities. He ascended to level of
bishop. He excommunicated the King for stealing the beautiful wife of a
noble man. Stanislaus refused the king services at the Cathedral and was
murdered by the king himself during mass in a small chapel outside of
Cracow.
The order of St. Stanislaus second class is a polish medal. After the
cogress of Vienna in 1815 Poland be came a part of the Russian Empire.
Thus polish medals came to be used by the Russians. This medal was
second only to the most prestigious medal the Poles used called the
White Eagle.
Medals info http://www.gwpda.org/medals/russmedl/russia.html
St. Stanislaus Bio http://www.catholic.org/saints/saint.php?saint_id=207
Bronte/Chekhov
At the following link, there is a detailed biography about the Bronte sisters and their literary influence during their lifetimes. The page contains an extremely interesting painting of the sisters - painted by their one and only brother Branwell, who originally painted himself into the portrait, but then decided to take himself out of the painting because he felt like it cluttered it up. Extremely interesting for Andrey.
http://wapedia.mobi/en/Brontë
On a more pop culture note, there is a movie about the Bronte sisters (1946) called "Devotion" starring Olivia De Havilland as Charlotte Brante. The trailer seems to quite successfully represent the romantic style of film-making of the 1940's, but I definitely think it could inform a lot about Chekhov's sisters.
Devotion trailer:
http://www.youtube.com/watch?v=6maR0SLpXcE
-Corey
http://wapedia.mobi/en/Brontë
On a more pop culture note, there is a movie about the Bronte sisters (1946) called "Devotion" starring Olivia De Havilland as Charlotte Brante. The trailer seems to quite successfully represent the romantic style of film-making of the 1940's, but I definitely think it could inform a lot about Chekhov's sisters.
Devotion trailer:
http://www.youtube.com/watch?v=6maR0SLpXcE
-Corey
mysterious Chekhov....
An interesting article on how Brecht and Stanislavki oppose each other in
a production of Three Sisters at the Lyric Hammersmith:
http://cice.blog.gustavus.edu/2010/01/25/from-london-stanislavski-and-brecht-in-anton-chekov’s-three-sisters-at-the-lyric-hammersmith/
A blog post on GUARDIAN.CO.UK by Dan Rebellato
Here's an excerpt:
But also, I think, Chekhov is a mystery. There are some playwrights who
are so busily present in their work that it's like you have the author
beside you murmuring comments on the action. Chekhov is different; what
does he think of his characters? Does he admire them or pity them? Ask us
to examine or ridicule? It's never obvious. Chekhov's characters tend to
let their mouths run away with them (Gayev in The Cherry Orchard fills a
silence with an idiotic hymn of praise to a bookcase that, even as he's
saying it, he must regret). It's almost as if Chekhov lets silences form
in his play, which his characters nervously fill and thus reveal
themselves.
And the link
http://www.guardian.co.uk/culture/theatreblog/2010/nov/03/theatre-anton-chekhov-modern
a production of Three Sisters at the Lyric Hammersmith:
http://cice.blog.gustavus.edu/2010/01/25/from-london-stanislavski-and-brecht-in-anton-chekov’s-three-sisters-at-the-lyric-hammersmith/
A blog post on GUARDIAN.CO.UK by Dan Rebellato
Here's an excerpt:
But also, I think, Chekhov is a mystery. There are some playwrights who
are so busily present in their work that it's like you have the author
beside you murmuring comments on the action. Chekhov is different; what
does he think of his characters? Does he admire them or pity them? Ask us
to examine or ridicule? It's never obvious. Chekhov's characters tend to
let their mouths run away with them (Gayev in The Cherry Orchard fills a
silence with an idiotic hymn of praise to a bookcase that, even as he's
saying it, he must regret). It's almost as if Chekhov lets silences form
in his play, which his characters nervously fill and thus reveal
themselves.
And the link
http://www.guardian.co.uk/culture/theatreblog/2010/nov/03/theatre-anton-chekhov-modern
An interview I scanned from "The Cambridge Companion to Chekhov" with Sir
Ian McKellen about his understandings of Chekhov work, his past rehearsal
processes with Mike Alfreds and others. The sections of particular
interest to helping an actor and/or relating to Three Sisters, I
bracketed, as Ian tends to talk a bit too much.
-Dylan
after drinking? REPENTANCE!
I understand this is from a Russian Craft website... but it's the clearest summary I've found! :)
http://russian-crafts.com/customs/russian-church-history.html
http://russian-crafts.com/customs/russian-church-history.html
VODKA!!!!!!
WEBSITE ON RUSSIAN DRINKING TRADITIONS-
http://www.blackstallionspirits.com/index.php?page=products/index.php&catid=3&id=50
Love, GREY
http://www.blackstallionspirits.com/index.php?page=products/index.php&catid=3&id=50
Love, GREY
Psch gesture
Found these Sketches in Michael's Book On the Technique of Acting. These
are sketches of Psychological Gestures. Michael explains the psychology
that influences them.
Drawing 1 "strong unbending will" with "dominating despotic desires" and "
filled with hatred and disgust"
Drawing 2 "Fiery will" " open to influence from above and is obsessed by
the desire to recieve and even to force these "inspirations from these
influences. It is filled with mystical qualities but at the same time
stands firmly on the ground and receives equally strong influences from
the earthly world.
Drawing 3 "entirely introspective" "It might enjoy its loneliness" "no
desire to come in contact with either the world above or below"
Drawing 4 "imagine a character entirely attached to an earthly kind of
life. Its powerful and egotistical will is constantly drawn downward. All
its passionate wishes and lusts are stamped with low base qualities.
Mistrust suspicion and blame fill its whole limited and introverted life.
Drawing 5 "You might see the strength of this particular character is in
its protesting, negative will. Its main quality may seem to you to be
suffering, perhaps with the nuance of anger or indignation. On the other
hand a cerian weakness permeates its form.
Drawing 6 "weak type" "Unable to protest and fight his way through life;
highly sensitive, inclined to self pity, with a strong desire to
complaints."
Drawing 7 Is a starting point for an exercise Chekhov wish the actor to
try. Start from the image provided and say the sentence "I wish to be left
alone." See how the gesture morphs. How does the change in position affect
your thinking
suburbia & 3 Sisters
1)
The Chehkovian in "subURbia" by eric bogosian.
Some interesting observations.
http://articles.latimes.com/1998/jun/03/entertainment/ca-55908
2)
The Roger Ebert review of the movie "subURbia".
How someone who doesn't really know a lot about Chehkov interprets the
Chehkovian aspects.
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19970307/REVIEWS/703070304/1023
-Olivia
The Chehkovian in "subURbia" by eric bogosian.
Some interesting observations.
http://articles.latimes.com/1998/jun/03/entertainment/ca-55908
2)
The Roger Ebert review of the movie "subURbia".
How someone who doesn't really know a lot about Chehkov interprets the
Chehkovian aspects.
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19970307/REVIEWS/703070304/1023
-Olivia
Monday, November 1, 2010
a premonition
Also, I found this really interesting painting appropriately titled "The Three Sisters" by Palma Vecchio circa 1520 A.D. The painting is actually amazing because just by looking at the direction of the sisters heads and eyes, you can see Chekhov's three characters and each one's respective obsessions with the past, present, and future. The first girl could clearly represent Olga and how towards the end of the play she dreads the future and wants the past again - fearing she is too old. The middle sister could represent Irina and her obsession with the future - always excited about going to Moscow and what she will do when she grows up. And the the far right girl could represent Masha - she is looking at both of the other two completely dissatisfied with the present, but also the past and future. I don't quite know if Chekhov used this for inspiration, but I found it quite interesting.
URL: http://pearlofvenice.com/yahoo_site_admin/assets/images/ThreeSisters1520s.263103355_std.jpg
-Corey
URL: http://pearlofvenice.com/yahoo_site_admin/assets/images/ThreeSisters1520s.263103355_std.jpg
-Corey
Mickey Chekhov
Over the past few weeks I have been really thinking and pondering about that Michael Chekhov exercise we did and how important it can be in any piece of work. During that exercise I was reminded again of how magnificent the mind can be, and how vast our imagination is. I came across this trailer (in two parts) on youtube for a documentary entitled "Master Classes in the Michael Chekhov Technique." A lot of the people in the documentary worked with Michael in the last few years of his life. It is extremely interesting to hear what people think about his life and work, and how they use it to personalize their own work. Also, they are all using "Three Sisters" text in the exercises.
Part 1: http://www.youtube.com/watch?v=UFz5BIta4fE
Part 2: http://www.youtube.com/watch?v=aCUUrJ2yGjA&feature=related
-Corey
Part 1: http://www.youtube.com/watch?v=UFz5BIta4fE
Part 2: http://www.youtube.com/watch?v=aCUUrJ2yGjA&feature=related
-Corey
more about the faith
Website
http://christianity.about.com/od/easternorthodoxy/a/orthodoxbeliefs.htm
The Russian Orthodox Faith split from Roman Catholic Church when the pope
declared Universal Papal Supremacy. Orthodox has stayed true to all the
things that were agreed to at the seven ecumenical councils. They believe
that they are the ones who have stayed true to the curch that was handed
down to them by the apostles.
This religion does not believe that God predestines you. One will always
have his or her own free will to decide. Rather, God already knows all the
decisions you will make. So, there is no point in trying to out do him.
- Marrick
http://christianity.about.com/od/easternorthodoxy/a/orthodoxbeliefs.htm
The Russian Orthodox Faith split from Roman Catholic Church when the pope
declared Universal Papal Supremacy. Orthodox has stayed true to all the
things that were agreed to at the seven ecumenical councils. They believe
that they are the ones who have stayed true to the curch that was handed
down to them by the apostles.
This religion does not believe that God predestines you. One will always
have his or her own free will to decide. Rather, God already knows all the
decisions you will make. So, there is no point in trying to out do him.
- Marrick
from Denver
This is dramaturgical research done by a Bob Nelson of Brigham Young University.
http://cfac-old.byu.edu/fileadmin/tma/user_files/Production_History/Study_Guides-PH/Three_Sisters_SG.pdf
Interest:
The side by side timeline is interesting because it gives a little insight as to what was happening in the country when Chekov was writing.
Apparently his family went through a period where they had to give everything away because of a debt. Andrey?
There is a somewhat interesting comparison to Waiting For Godot at the end of the essay. Concluding that the play gives an existential message. We make our lives daily. We take responsibility and perform action to shape and mold our lives. In the three sisters, no one ever takes real action when they need to.
-Denver
http://cfac-old.byu.edu/fileadmin/tma/user_files/Production_History/Study_Guides-PH/Three_Sisters_SG.pdf
Interest:
The side by side timeline is interesting because it gives a little insight as to what was happening in the country when Chekov was writing.
Apparently his family went through a period where they had to give everything away because of a debt. Andrey?
There is a somewhat interesting comparison to Waiting For Godot at the end of the essay. Concluding that the play gives an existential message. We make our lives daily. We take responsibility and perform action to shape and mold our lives. In the three sisters, no one ever takes real action when they need to.
-Denver
Photography & photographers
http://www.wintershall.com/976.html#
http://photo.box.sk/history.php3?id=7
As our play's photographer I thought it would be appropriate to look up a little bit of russian pictorialism.
Taking photos with the purpose of creating an artwork was definitely a new concept in the early 1900's. It will be interesting to see what motivates the picture taking. Is it that I want to capture the moment and hold onto it for remembrance or possibly that I am an artist at work. Maybe I hope to make money off of my photos one day. Or perhaps it's a little bit of both. If I take a picture to remember, but the picture has to be framed and shot with good composition, that might add another element of specificity and obstacle to the work.
- Denver
http://photo.box.sk/history.php3?id=7
As our play's photographer I thought it would be appropriate to look up a little bit of russian pictorialism.
Taking photos with the purpose of creating an artwork was definitely a new concept in the early 1900's. It will be interesting to see what motivates the picture taking. Is it that I want to capture the moment and hold onto it for remembrance or possibly that I am an artist at work. Maybe I hope to make money off of my photos one day. Or perhaps it's a little bit of both. If I take a picture to remember, but the picture has to be framed and shot with good composition, that might add another element of specificity and obstacle to the work.
- Denver
Russian beats
Russian Army Marches
http://www.youtube.com/watch?v=uEmPaTc589M
Russian Folk Music
http://www.youtube.com/watch?v=5_mtUfiTbso
Tchaikovsky
http://www.youtube.com/watch?v=Cg1dMpu4v7M&feature=related
"Peter Ilyich Tchaikovsky 1840-1893. Tchaikovsky was one of the greatest
composers ever to have lived and an artist whose music conveys the very
spirit of 19th century Russia."
http://www.youtube.com/watch?v=uEmPaTc589M
Russian Folk Music
http://www.youtube.com/watch?v=5_mtUfiTbso
Tchaikovsky
http://www.youtube.com/watch?v=Cg1dMpu4v7M&feature=related
"Peter Ilyich Tchaikovsky 1840-1893. Tchaikovsky was one of the greatest
composers ever to have lived and an artist whose music conveys the very
spirit of 19th century Russia."
more Russian Life in the 90's (1890's, that is)
In the late nineteenth century, as in the 1600s, sex, marriage, and the
family were not considered private issues. Instead they were considered
part of the social or public domain, even for families in the nobility or
intelligentsia. Adultery and various other acts were treated as criminal
offenses or examples of deviant behavior right up to 1917. In other words,
these acts were treated as criminal offenses or examples as social crimes
rather than as personal matters. [vol. 1, p. 175]
source: A Social History of Imperial Russia 1700-1917
Also a lecture from 1891 about Russian Communities.
http://socserv2.socsci.mcmaster.ca/~econ/ugcm/3ll3/kovalevsky/modcus3
- Lindsay
family were not considered private issues. Instead they were considered
part of the social or public domain, even for families in the nobility or
intelligentsia. Adultery and various other acts were treated as criminal
offenses or examples of deviant behavior right up to 1917. In other words,
these acts were treated as criminal offenses or examples as social crimes
rather than as personal matters. [vol. 1, p. 175]
source: A Social History of Imperial Russia 1700-1917
Also a lecture from 1891 about Russian Communities.
http://socserv2.socsci.mcmaster.ca/~econ/ugcm/3ll3/kovalevsky/modcus3
- Lindsay
Orthodoxy & 'name days'
A little Russian Orthodox:
"The religiosity of all Russians at the beginning of the eighteenth
century and of people in all undeveloped areas until the beginning of the
twentieth century featured the following elements: a poor understanding of
the fundamentals of Christian belief; a substitution of a strict
observance of rites and rituals for faith; the pervasiveness of
superstition and prejudice (veneration of icons. pilgrimages to holy
shrines, fasting, and so on); a lack of proper reverence at church during
the service and the administration of sacraments; and a pragmatic form of
piety (an expectation of practical results from the observance of rites,
such as a plentiful harvest, health, and success)."
source: A Social History of Imperial Russia, 1700-1917
In the Russian Orthodox Church, the second Sunday after the Feast of
Pentecost is traditionally the day when all the saints of the Russian
land are commemorated. In a way, this service (and others that follow the
same pattern) are an extension of the service of the first Sunday after
Pentecost, which is kept as the Feast of All Saints (not to be confused
with "All Saint's Day" in the western Churches, which is celebrated on
November 1st).
Russians celebrated the feast-day of their patron saint with festivities
resembling a birthday party. The person who celebrates Saint's Day invites
relatives and friends for dinner, singing and dancing.
The character Irina is named for Saint Irene, martyr of Thessalonica,
burnt at the stake under Diocletian. St. Irene's day is celebrated on the
5th of May. [p. 284]
- Lindsay
"The religiosity of all Russians at the beginning of the eighteenth
century and of people in all undeveloped areas until the beginning of the
twentieth century featured the following elements: a poor understanding of
the fundamentals of Christian belief; a substitution of a strict
observance of rites and rituals for faith; the pervasiveness of
superstition and prejudice (veneration of icons. pilgrimages to holy
shrines, fasting, and so on); a lack of proper reverence at church during
the service and the administration of sacraments; and a pragmatic form of
piety (an expectation of practical results from the observance of rites,
such as a plentiful harvest, health, and success)."
source: A Social History of Imperial Russia, 1700-1917
In the Russian Orthodox Church, the second Sunday after the Feast of
Pentecost is traditionally the day when all the saints of the Russian
land are commemorated. In a way, this service (and others that follow the
same pattern) are an extension of the service of the first Sunday after
Pentecost, which is kept as the Feast of All Saints (not to be confused
with "All Saint's Day" in the western Churches, which is celebrated on
November 1st).
Russians celebrated the feast-day of their patron saint with festivities
resembling a birthday party. The person who celebrates Saint's Day invites
relatives and friends for dinner, singing and dancing.
The character Irina is named for Saint Irene, martyr of Thessalonica,
burnt at the stake under Diocletian. St. Irene's day is celebrated on the
5th of May. [p. 284]
- Lindsay
THREE SISTERS IN DC
Heres a quick review from the latest Russian-language adaptation of Three
Sister's at the Kennedy Center this October.
http://www.washingtonpost.com/wp-dyn/content/article/2010/10/20/AR2010102006320.html
I sat down for a quick talk with Alex Falberg, who went up to DC to see
the show. I hope to have a more lengthy discussion with him about it soon.
So, just a little info about the Baron from the production: Really used
the character's warmth, and caring nature, everyone loved to have him
around in close friendship, a definitely likable kind of a guy, but maybe
not so much as to have an intimate relationship. The Baron had a pair of
glasses in the production, and was almost completely blind without them.
During his last scene in Act IV with Irina, they used this concept.
Initially they had a great distance between them, and as they moved closer
she removed his glasses and they had a playful, almost childlike game of
it. Such a contrasting lightness to the overcoming, dire circumstances
ahead of the moment. Maybe something to toy with in rehearsal?
- Dyaln
Sister's at the Kennedy Center this October.
http://www.washingtonpost.com/wp-dyn/content/article/2010/10/20/AR2010102006320.html
I sat down for a quick talk with Alex Falberg, who went up to DC to see
the show. I hope to have a more lengthy discussion with him about it soon.
So, just a little info about the Baron from the production: Really used
the character's warmth, and caring nature, everyone loved to have him
around in close friendship, a definitely likable kind of a guy, but maybe
not so much as to have an intimate relationship. The Baron had a pair of
glasses in the production, and was almost completely blind without them.
During his last scene in Act IV with Irina, they used this concept.
Initially they had a great distance between them, and as they moved closer
she removed his glasses and they had a playful, almost childlike game of
it. Such a contrasting lightness to the overcoming, dire circumstances
ahead of the moment. Maybe something to toy with in rehearsal?
- Dyaln
More Yummy Russian Orthodoxy
Russian Orthodoxy
Russian ethnicity, culture, and nationalism are identified with Russian
Orthodoxy, the state religion in Russia for almost a thousand years. In
every ethnic Russian there is an Orthodox heritage . . . Russian Orthodoxy
believed that it had solved all the basic problems of belief and worship,
DEFINED for ALL TIME, by its councils. Changes in dogma or even sacred
phraseology could not be tolerated. The Russian sense of community end
egalitarianism also has roots in Orthodoxy. The consensus of the Orthodox
congregation was seen as the truth - a singularity of truth in which there
was no room for a pluralism of opinion. In this idea lie the roots of
Russia's traditional disdain for dissidents - political as well as
religious. Under the Soviets, atheism became the official doctrine, and
the Orthodox Church, with its tradition of submission to state authority,
proved easy to suppress and vulnerable to Communist control. Since 1985,
the severe anti-religious policies of the Stalin years have been reversed.
In 1990 a law on religious freedom was passed, and militant atheism was
dropped from the Communist Party platform. Churches have begun to open.
America, by contrast, has had neither a state church, an official
ideology, nor a single truth. Rather America has known a pluralism of
beliefs and truths and has tolerated, if not encouraged, dissenters from
these beliefs. Church and state have been kept separate. Religion and
ideology have been kept separate from state affairs. Diverse views have
often been welcomed. The very right to be different has been respected. If
Americans have to have an ideology, it is probably pragmatism - if it
works, do it.
Although the 1990 law on religious freedom was passed, the Russian
Orthodox Church has often tried to interpret the freedom as related to the
Russian Orthodox only. Originally other Christian groups were welcomed by
the Orthodox Church to help make religious material and training
available. In recent years the feelings have shifted. The other "sects"
are not seen as legitimate religions. Recent laws have been passed in the
Duma to restrict other religious groups from meeting publicly. Since the
Orthodox Church does have clout with the government, the potential for
excluding other religious groups could become a reality.
-Lucia
http://www.goehner.com/russinfo.htm
Russian ethnicity, culture, and nationalism are identified with Russian
Orthodoxy, the state religion in Russia for almost a thousand years. In
every ethnic Russian there is an Orthodox heritage . . . Russian Orthodoxy
believed that it had solved all the basic problems of belief and worship,
DEFINED for ALL TIME, by its councils. Changes in dogma or even sacred
phraseology could not be tolerated. The Russian sense of community end
egalitarianism also has roots in Orthodoxy. The consensus of the Orthodox
congregation was seen as the truth - a singularity of truth in which there
was no room for a pluralism of opinion. In this idea lie the roots of
Russia's traditional disdain for dissidents - political as well as
religious. Under the Soviets, atheism became the official doctrine, and
the Orthodox Church, with its tradition of submission to state authority,
proved easy to suppress and vulnerable to Communist control. Since 1985,
the severe anti-religious policies of the Stalin years have been reversed.
In 1990 a law on religious freedom was passed, and militant atheism was
dropped from the Communist Party platform. Churches have begun to open.
America, by contrast, has had neither a state church, an official
ideology, nor a single truth. Rather America has known a pluralism of
beliefs and truths and has tolerated, if not encouraged, dissenters from
these beliefs. Church and state have been kept separate. Religion and
ideology have been kept separate from state affairs. Diverse views have
often been welcomed. The very right to be different has been respected. If
Americans have to have an ideology, it is probably pragmatism - if it
works, do it.
Although the 1990 law on religious freedom was passed, the Russian
Orthodox Church has often tried to interpret the freedom as related to the
Russian Orthodox only. Originally other Christian groups were welcomed by
the Orthodox Church to help make religious material and training
available. In recent years the feelings have shifted. The other "sects"
are not seen as legitimate religions. Recent laws have been passed in the
Duma to restrict other religious groups from meeting publicly. Since the
Orthodox Church does have clout with the government, the potential for
excluding other religious groups could become a reality.
-Lucia
http://www.goehner.com/russinfo.htm
Science of Brooding
Some Russian insights that will help us not be limited by the bleak
outcome of the final act.
Researchers found that the saddest literature was usually written by
Russian authors, so they decided to do a series of tests with subjects in
Moscow and in Michigan.
" . . . According to Grossman and Kross, however, not all brooders and
ruminators are created equal. While American brooders showed extremely
high levels of depressive symptomatology, Russian brooders were actually
less likely to be depressed than non-brooders. This suggests that
brooding, or ruminative self-reflection, has extremely different
psychiatric outcomes depending on the culture. While rumination makes
Americans depressed, it actually seems to provide an emotional buffer for
Russians . . . When Russians engaged in brooding self-analysis, they were
much more likely to engage in self-distancing, or looking at the past
experience from the detached perspective of someone else. Instead of
reliving their confused and visceral feelings, they reinterpreted the
negative memory , which helped them make sense of it. According to the
researchers, this led to significantly less “emotional distress” among the
Russian subjects. (It also made them less likely to blame another person
for the event.)"
So, Russians are able to look at a bad situation and see it objectively.
Maybe that is why Chekhov thought all his plays were comedies...
love and brooding,
Lucia
Read More
http://www.wired.com/wiredscience/2010/08/why-russians-dont-get-depressed/#ixzz13UY3erPH
- Lucia
outcome of the final act.
Researchers found that the saddest literature was usually written by
Russian authors, so they decided to do a series of tests with subjects in
Moscow and in Michigan.
" . . . According to Grossman and Kross, however, not all brooders and
ruminators are created equal. While American brooders showed extremely
high levels of depressive symptomatology, Russian brooders were actually
less likely to be depressed than non-brooders. This suggests that
brooding, or ruminative self-reflection, has extremely different
psychiatric outcomes depending on the culture. While rumination makes
Americans depressed, it actually seems to provide an emotional buffer for
Russians . . . When Russians engaged in brooding self-analysis, they were
much more likely to engage in self-distancing, or looking at the past
experience from the detached perspective of someone else. Instead of
reliving their confused and visceral feelings, they reinterpreted the
negative memory , which helped them make sense of it. According to the
researchers, this led to significantly less “emotional distress” among the
Russian subjects. (It also made them less likely to blame another person
for the event.)"
So, Russians are able to look at a bad situation and see it objectively.
Maybe that is why Chekhov thought all his plays were comedies...
love and brooding,
Lucia
Read More
http://www.wired.com/wiredscience/2010/08/why-russians-dont-get-depressed/#ixzz13UY3erPH
- Lucia
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