Acting Style of The Three Sisters

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THE THREE SISTERS….Acting Style and Then Some…

The original Moscow Art Theatre's presentation of The Three Sisters may not have won critical praise or even mass spectator appeal, but Stanislavsky's production of the Chekhovian play in 101 has since changed the way actors live through their characters. Chekhov despised the idea of anything false onstage.

"The immense majority of people are nervous, you know the greater number suffer, and a small proportion feel acute pain; but where- in streets and in houses- do you see people tearing about, leaping up and clutching at their heads? Suffering ought to be expressed as it is expressed in life- that is, not by the arms and legs, but by the tone and expression; not by gesticulation, but by grace. Subtle emotions of the soul in educated people must be subtly expressed in an external way. You will say - stage conditions. No conditions allow falsity." -(Chekhov, 17)

He believed in showing the details and subtleties of one's character and his writing reflected this. As a result of his interpretation of Chekhov's work, Stanislavsky's The Three Sisters became markedly modern for its time. Moreover, the reality represented on stage was intended to resemble as closely as possible the usual, everyday material environment, mannerisms, attitudes, values and aspirations shared by the majority of the audience the Russian intelligentsia, to which the production's authors and performers also belonged. Stanislavsky's main intent was to eliminate the existential distance between the people on stage and the people in the audience. The 'fourth wall' by this token became visually transparent turning their backs to the spectators, actors signaled the absence of distance between the audience and the stage, the equivalence of acting and life, (Rudnitskii, 10-105).

Although Chekhov objected to the idea of falsified acting as Stanislavsky did, he did not always agree with Stanislavsky's methods. The two men's conflicting views of Chekhov's writing has been constantly recognized by those studying theatre history as their main source of discord. Chekhov developed his art in a time period when playwrights still had much say in how a performance was constructed, cast, and executed, however, Chekhov never had ultimate control, considering he spent most of his final years in Yalta, while the MAT performed his plays in metropolitan Moscow, striking a real life chord similar to the literary theme constantly employed by Chekhov the desire to be in the city. What Chekhov's work became most known for, above all, was his ability to create characters who lived on stage and spoke more profoundly through their subtext than their actual dialogue. Stanislavsky increased the intensity of this subtext with underlying motivations and affective memories. For example, in the scene between Vershinin and Masha during the second act, Vershinin is declaring his love for her when she moves to a different part of the stage and states "It's lighter here" meaning to say "I like you but lighten your intense pursuit." Thus, characters in The Three Sisters were not simply talking heads spelling out their motives for the audience, but rather complex people with real problems to hide amidst their everyday lives.

One might assume that since Chekhov often disapproved of Stanislavsky's ways of running a theatre and his interpretations of his plays, he would similarly disapprove of his acting skill. Although, this has never been proven. Chekhov once said, "The public, however stupid, is generally more clever, more sincere and sympathetic than K. and the actors- and these latter think they are the brighter reciprocal misunderstandings," (Chekhov, 14). However, correct interpretations or not, he knew there was some talent swimming about at the MAT and it was unfortunately never found in the acting. In the late 1th century actor-centered theatrical system the 'outstanding actors' were judged in terms of individual performance and therefore mostly compared to their less outstanding colleagues. This should not detract from the revolutionary acting concepts such as the fourth wall, the objective, and the idea of using subtext that can all be traced back to Anton Chekhov and his work with Constantin Stanislavsky on The Three Sisters.

K is assumed to represent Konstantin

Chekhov, Anton. The Personal Papers of Anton Chekhov. Trans. S.S. Koteliansky and Leonard Woolf. New York Lear Publishers, Inc., 148.

Rudnitskii, K.L.. Russkoe rezhisserskoe iskusstvo. (188-107 The Art of Russian Directors. 188-107). Moscow Nauka, 18.

Stanislavski, Constantin. An Actor Prepares. Trans. Elizabeth Reynolds Hapgood. New York Theatre Arts, Inc., 16.

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