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My side-notes are intended fordirectors, as a part of Scene Study.After you read the whole play,reread this scene. Read Characterpages in 3sis directory. Print themall.

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+ 2004: Father-RussiaWhat do you think about the goal of Chekhov to put the three of them finally together? Heeven added Natasha's appearance in the darkness to emphasize the upcoming climax andthe catastrophe.In order for you to put this scene together, you have to take it apart first. Separate thecharacters and examine where each of them at this point. We know that Baron would bekilled and acceptance him by Irina is irrelavant, she missed it, and maybe now is to diebecause of it. Her rejection of Solyony, with whom she is love, but fears the strongattraction to him -- he kills Baron as a result. She is broken because she broke the heartsand now live of two men, who love her. Here is the Chekhov's define irony over his heroes'calling for love.What about Masha? Her love affair with Vershinin is to end. She doesn't love her husband,who is she in love? Maybe with herself?

Olga, who is pushed out by the mistress of the house, Natasha, was serving as a motherand father for three siblings, now to end her live virgin. In my reading she in love withVershinin, but yelled him to Masha, as she always did. What is the result of her sacrifice forthe family.All Prosorovs are lost and destroyed.Now, how do we express it?Once again. The big picture and the small details. Remember the lesson on acting areas? Each character must havehis or her spot. Where and when do they come together to "their" are? The big long dinner table is the family place,but when there was a family, i.e. with the friends and at happy times. There was a small sofa (loveseat size), whereMasha already read her books (the same book), she doesn't live here anymore, but spends most of her time. I wantedto sqiz the three of them in one small place, so they will look like lost children. I left the spot lights on all platformsto make the effect of empty house stronger.Now, back to overall dramatic composition of the scene. Where is the climax? Where are the climatic moments foreach sister? Look at their monologues. Especially for Masha's confession (as if they don't know about her andVershinin?) She confesses when she lost her love for him, the confession is her attempt to talk herself into what isgone. In fact, this is the resolution opf the scene. Nobody replay, they know that she lost her hope for love too.I also asked Natasha to show up first without them seeing her -- and then to walk through with the candle to showthem who is in charge now. (Motivation, remember?) It gave them the sense of being not in their own house, so theychanged the level, whispering and forgetting about it. And Natasha walk through was extended, she "fixes things" --re-arranging the table, taking things with her, killing the candle on the piano.When they are together, there are several stages (positions) before they get to final composition with Irina on thefloor at Olga's feet, who tries to fix her hair, like mother -- and Masha standing behind them. Why this way? Ithought that the three levels would hold them as one body in different stages. (See page on Visual Composition).After you worked with the actors through the text (line-by-line analysis), you must make sure that there is thetempo-rhymth in the scene. Do not enforce the pauses, there must be reasons for pauses. So, when I wanted to stopand listen, I placed the sounds backstage (street).In directing classes I require my student to have some signs of the people mentioned in the scene. Where is Andrey,what detail represents him? Virshinin? Masha's husband? Baron, Solyony? It hels actors to visualize and us, thespectators, to follow, to remember. You see, each character must have this prop that represents him! The sound ofviolin was of the Andrey's attributes.Chekhov:

3 sisters, Scene Study, Act III

[ directing/acting classes ]

IRINA. Yes, how petty our Andrey has grown, how dull and old he has becomebeside that woman! At one time he was working to get a professorship andyesterday he was boasting of having succeeded at last in becoming a memberof the District Council. He's a member, and Protopopov is chairman... The wholetown is laughing and talking of it and he's the only one who sees and knowsnothing... And here everyone has been running to the fire while he sits still inhis room and takes no notice. He does nothing but play his violin... [nervously].Oh, it's awful, awful, awful! [Weeps] I can't bear it any more, I can't! I can't, Ican't![OLGA comes in and begins tidying up her table.]IRINA [sobs loudly]. Throw me out, throw me out, I can't bear it any more!OLGA [alarmed]. What is it? What is it, darling?IRINA [sobbing]. Where? Where has it all gone? Where is it? Oh, my God, myGod! I've forgotten everything, everything... everything is in a tangle in my

mind... I don't remember the Italian for window or ceiling... I'm forgettingeverything; every day I forget something more and life is slipping away and willnever come back, we'll never, never go to Moscow.... I see that we won't go...OLGA. Darling, darling...IRINA [restraining herself]. Oh, I'm miserable... I can't work, I'm not going towork. I've had enough of it, enough of it! I've been a telegraph clerk and now Ihave a job in the town council and I hate and despise every bit of the work theygive me... I'm already twenty-three, I've been working for years, my brains aredrying up, I'm getting thin and old and ugly and there's nothing, nothing, notthe slightest satisfaction, and time is passing and you feel that you are movingaway from a real, a beautiful life, moving farther and farther away and beingdrawn into the depths. I'm in despair and I don't know how it is I'm alive andhaven't killed myself yet...OLGA. Don't cry, my child, don't cry. It makes me miserable.IRINA. I'm not crying, I'm not crying.... It's over... There, I'm not crying now. Iwon't... I won't.OLGA. Darling, I'm speaking to you as a sister, as a friend, if you care for myadvice, marry the baron![IRINA weeps quietly.]OLGA. You know you respect him, you think highly of him.... It's true he isn'tgood-looking, but he is such a thoroughly nice man, so good.... A persondoesn't marry for love, but to do her duty.... That's what I think, anyway, and Iwould marry without love. Whoever proposed to me I'd marry him, if only hewere a good man.... I'd even marry an old man...IRINA. I kept expecting we should move to Moscow and there I should meet mytrue love. I've been dreaming of him, loving him... But it seems that was allnonsense, nonsense...OLGA [puts her arms round her sister]. My darling, lovely sister, I understand itall; when the baron left the army and came to us in a plain coat, I thought helooked so ugly that it positively made me cry... He asked me, "Why are youcrying?" How could I tell him! But if God brought you together I should behappy. That's a different thing, you know, quite different.[NATASHA with a candle in her hand walks across the stage from door on rightto door on left without speaking.]MASHA [sits up]. She walks about as though it were she who set fire to thetown.OLGA. Masha, you're silly. The very silliest of the family, that's you. Pleaseforgive me [a pause].MASHA. I want to confess my sins, dear sisters. My soul is yearning. I'm goingto confess to you and never again to anyone... I'll tell you this minute [softly].It's my secret, but you must know everything.... I can't be silent... [a pause].I'm in love, I'm in love... I love that man.... You have just seen him... Well, Imay as well say it. I love Vershinin.OLGA [going behind her screen]. Stop it. I'm not listening anyway.MASHA. But what am I to do? [Clutches her head.] At first I thought himstrange... then I was sorry for him... then I came to love him... to love him withhis voice, his words, his misfortunes, his two little girls...OLGA [behind the screen]. I'm not listening. Whatever silly things you say Iwon't hear them.MASHA. Oh, sister, you are silly. I love him -- so that's my fate. It means thatthat's my lot... And he loves me... It's all terrifying. Yes? Is it wrong? [TakesIRINA by the hand and draws her to herself] Oh, my darling... How are we

going to live our lives, what will become of us?.. When you read a novel it allseems trite and obvious, but when you're in love yourself you see that no oneknows anything and we all have to settle things for ourselves... My darlings, mysisters... I've confessed it to you, now I'll hold my tongue... I'll be like Gogol'smadman... silence... silence...

[ ... ]You can't do scenes exploration without going through the character's analysis with eachactor first. Use the monologies. Have time one on one with each actor. After one read-through, do the ensamble style rehearsals, improv, exchaging the parts for demonstrationsand so on. I do the directorial search with actors for the key dramatic segments; the climax,the exposition, establishing it, so we all understand from where and where we are going.See Monologue pages in Method for Directors!

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