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

In the light of your study of Stanislavski and after seeing Miss Julie how would you direct the opening act of Three Sisters?

Extracts from this document...


In the light of your study of Stanislavski and after seeing Miss Julie how would you direct the opening act of Three Sisters? The opening of Act One of Chekhov's 'Three Sisters', gives detailed stage directions, which offers valuable information on the main characters of the play; the three sisters, Irina, Masha and Olga. As a director, I would encourage the actors playing these roles to read the information, as it defines clearly the different characters of the sisters, and so can be used for characterisation. As a director, I am fully aware that 'Three Sisters' is a realist play; therefore, this would prompt me to use Stanislavski methods to develop true to life portrayals of the characters. The following is a sketch of Act One: During the opening of the play the three sisters will sit in their designated areas and the audience will watch while Olga marks her books, Irina puts on make-up for her party, and Masha reads a book on the window seat, subdued. In the background (the ballroom), the table will be laid by a servant, which could be played by Anfisa, the old nurse. The 'clip-clop' sound of her heels as she rushes about will make stark contrast to the silence of the sisters. I aspire to obtain the audience to suspend their disbelief, and remain this through-out the play. This idea is heavily influenced by the theatre production of 'After Miss Julie'. ...read more.


Masha is also depressed over her marriage; she believed her husband was intelligent and wise, and now she refuses to accept the reality that he is not this, and she does not love him. The audience will have an insight into the 'true' Masha, an insecure person, who is deeply upset by her sister's relationship and her life in general. This will be shown by Masha observing the play, without allowing the other characters to see (which will create dramatic irony), and reacting to the action behind her, while facing the audience. Masha can use the audience as a friend, and watch them rather than interact with her sisters. Masha's facial expressions are very important in order to portray her character naturalistically. Due to this I would use Stanislavski's' acting method of 'emotion memory', by asking the actress playing Masha to remember how it felt in a part of her life when she had no one to help her, and her life was disappearing before her eyes. I would then ask her to use these feelings with Masha, to create naturalism. Part of Masha's character resents the close relationship between Olga and Irina, and this leads to her feeling more isolated. This will be shown when Masha whistles. The whistle will be one of those 'pretend I'm not here' whistles but at the same time, the whistle will remind the other sisters of Masha's existence. ...read more.


Lighting will be used to mimic natural sunlight streaming through the windows. The audience will be situated around the stage in a semi-circle, and the audience size will be small (around 250), so they will all be very close to the actors. This will make the audience feel more involved, and make the drama more realistic, personal, and believable. All costumes will be to date, and according to the stage directions and only natural make-up will be used. All male soldiers will be wearing military uniforms and civilian clothing. The pace of Act One will develop throughout, to prepare the audience for more tension and a climax in the following acts. In conclusion, I believe the relationship between the three sisters is the focus of Act One, and how they react to other people. I believe the solution to making this play work theatrically is to use Chekhov's idea of comedy and tragedy, to develop the naturalism of the play, as life often has highs and lows. The tragedy of the play creates tension and allows the audience to relate to characters, and then the comedy allows the audience to forget the problems and enjoy the play, as well as making the tragedy more obvious, and at times heartbreaking. To develop Act One I would continue to use Stanislavski methods to increase the naturalism of the play, and improve characterisation. Hayley Sheath Page 1 ...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 Plays 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 Plays essays

  1. “All My Sons”: Examine the Dramatic Power of Act 3.

    He is very determined and Joe for once claims to agree with Chris that he should go to prison. Chris is proud of himself and thinks that he has won the battle against his father. Kate is still trying to protect Joe: "The war is over!

  2. Contextualising the Play of Miss Julie

    In many ways he feels sorry for women, Strindberg placed more importance on the sanctity of marriage and spoke in his preface to Miss Julie about the rise of the "man-hating half-woman." A general opposition to feminism is also apparent in Miss Julie.

  1. Form and Structure of Miss Julie

    The play is written in chronogical order meaning does the things in the play written in order and in my opinion the play is written in chronogical order because the play doesn't act the flashbacks that the characters was talking about for example when Jean was telling Miss Julie what

  2. Plot and Subpolt of Miss Julie

    that he will behave in a gentleman fashion, but they have sex while the peasants entered the kitchen singing and dancing ==> Julie enters alone, sees the kitchen, and powders her face.

  1. Use of language of Miss Julie

    Never seen the world. It's lovely, riding in a train...' shows that Miss Julie is going through too many emotions to start a new life with the servants. Dialect is used to show the audience each character the way they speak if it's formal or slang in this play focuses on high and low classes so it must be formal 'Vous voulez plaisanter, madame.'

  2. How does the Director encourage the audience to feel sympathy for Derek and his ...

    "Stay back". At this point the audience does know that Craig has turned into a maniac, rejecting one of his friends. Two officers then grab Derek and use him as a shield to retreat back to the stairs. This makes Bentley appear as just a tool rather than a person,

  1. Bronte, the play, is a recent work, with one of its very first productions ...

    The most noticeable connection between the actresses was, I thought, how close they actually appeared as sisters. This was especially well done as for most of the play when one was in a scene, the other two would almost certainly be there.

  2. For this exam we have been given the text "Too Much Punch for Judy" ...

    We used the techniques of; * Hot seating * Thought tracking * Conscience tunnel * Writing in role * Key moments. In our group we decided to use the idea of hot seating and key moments. I played the role of Judy and the other people in my group took

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