• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Three Sisters, Anton Chekhov. Stanislavski's 'Magic If' as it pertains to the character Toozenbach - Chekhov's 3 Sisters

Extracts from this document...


Three Sisters, Anton Chekhov Stanislavski's "Magic If" as it pertains to the character Toozenbach Our objective is to apply Stanislavski's "magic if" to our own selves, considering the character from this play that we have been chosen to play. In order to do this with any degree of veracity or indeed pertinence to the job at hand, we must examine Toozenbach as an individual. Toozenbach, (sometimes spelt Tuzenbach) or Nikolai Lvovich is a baron and leftenant in the army. His full name or rather title is Baron Toozenbach-Krone-Alschauer, a German name clearly, and a rather grandiose sounding one at that, alhough he points out on at least two occasions that he is actually Russian and not German. It can be inferred from this that his father was named Leo or Lev as his middle name (which is evidently his patronym) is Lvovich. He is an individual whom it is clear has had a relatively priveleged upbringing and life. ...read more.


I feel sorry for him, even though he irritates me. I think he's shy" He appears to be defending Soliony. All in all, this character is a complicated one and perhaps one of the most involved and dare I say it enigmatic in the play, and this brings us to the Stanislvaski method. Perhaps a good start would be to find a copy of Stanislavki's book 'An actor prepares'! To be brief, we will look at of the fundamentals of method acting as described by many modern proponents of the Stanislavski method. 1. Relaxation 2. Concentration 3. Objects 4. Animal exercise 5. The private moment 6. Moment to moment 7. Affective memory 8. The Magic If 9. Substitution 10. Song and dance 11. Speaking out and finally, 12. Justification. We will discuss the Magic If very briefly, although we may return to the other points at some point in the future. The Magic If is in one sense encompasses many if not all of the above points and is a way a kind of union and ulitmate culmination of the combination of the 11 other points above. ...read more.


For example if I were playing Toozenbach in this class and even without props, I would have to imagine the uniform that Toozenbach is wearing, or in a sense 'assume' the form of one who is uniform. It is the actor's job to make the props and set real to himself. By using the "magic if" the actor is granting himself permission to "believe" in these imaginary objects, in the same way a young girl believes her doll is real, or a young boy believes he is really "Tarzan", or "Spiderman", or that the water pistol he is using is really a gun. On some level we must all recapture that childlike quality! Of key importance in using the "magic if" in an actor's work is exploring with absolute honesty what the actor would actually do in the often unusual circumstances the author has presented them with . What would you really do if you were in Russia in the last century? ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Theatre Studies section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Theatre Studies essays

  1. What to you are the main themes and issues of 'Three Sisters' and how ...

    not living up to people's expectations and the loneliness that the characters feel, ultimately as a result of their refusal to listen to each other. The sisters' romantisised view of Moscow, seen most clearly in Act One in the conversation between Vershinin and the sisters, is brutally brought back down to reality by Vershinin.

  2. Contrasting Lee Breuer and Stanislavski productions

    speak to the audience for itself- if there was a truly powerful message for a particular audience, it would be picked up on, as was the case for his production of Ibsen's An Enemy Of The People, when without explicit intent, a political sentiment resonated with the current climate.

  1. Konstantin Stanislavski (1863 - 1938)

    An action is performed, such as opening a letter (the what). The letter is opened because someone has said that it contains extremely damaging information about the character (the why). The letter is opened anxiously, fearfully (the how), because of the calamitous effect it might have on the character.

  2. Konstantin Stanislavski.

    He concluded that unwanted tension has to be eliminated and that the performer at all times attain a state of physical and vocal relaxation. Concentration and Observation Stanislavski also discovered that gifted performers always appear fully concentrated on some object, person, or event while onstage.

  1. A critical analysis of Act 1 of 'The Three Sisters' by Anton Chekhov.

    event; some critics, rampant in cynicism, refuse to accept this, because it is so starkly different from the first impression that you receive of the play. The first Act of the play seems dull, and faceless, but, if taken at more than face-value, it is in fact incredibly significant; it

  2. The Imaginary Invalid.

    by not one, not two, but three doctors who would be glad to treat their family member for free.

  1. As a director outline some of your ideas for a production of 3 sisters.

    The basic layout of the will be a large old room decorated with expensive paintings and useless ornaments, these will decrease as the play progresses showing money problems and 3 large marble columns at the rear of the stage. In front of the middle column will be a large clock.

  2. Temptation piece. We were asked to think about temptation, and discuss what we were ...

    Scene Two Characters in scene - Kate (after) Kayleigh Techniques used - Flashback Kate and Kayleigh walk onto the stage and sit down at the table. We put the table at the side of the stage, so that when it came to the flashback scenes I could sit at the table and narrate.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work