History of Theatre: Ibsen's A Doll's House, Chekhov, and Acting

History of Theatre: Notes on Ibsen and A Doll's House Quotes to Consider: 1.​ Henrik Ibsen: "Men and women don’t belong in the same century." 2.​ Henrik Ibsen: "There are two kinds of spiritual laws, two kinds of consciousness, one in men and another, quite different in a woman; they...

History of Theatre: Notes on Ibsen and A Doll's House Quotes to Consider: 1.​ Henrik Ibsen: "Men and women don’t belong in the same century." 2.​ Henrik Ibsen: "There are two kinds of spiritual laws, two kinds of consciousness, one in men and another, quite different in a woman; they do not understand each other. But the woman is judged in practical life according to the man's law, as if she were not a woman but a man. The wife in this play finds herself at last, eternally at sea as to what is right and what wrong. Natural feeling on the one side, belief and authority on the other leave her in utter bewilderment. A woman cannot be herself in the society of today, which is exclusively a masculine society, with laws written by men and with accusers and judges who judge feminine conduct from the masculine point of view." Ibsen’s Politics and Their Impact on A Doll’s House ​ The quote directly critiques societal norms, particularly the legal and moral framework that judges women by male-centric standards. ​ Nora’s struggle in A Doll’s House reflects this disconnect—she makes decisions that are morally justified but legally condemned. ​ The play highlights the rigidity of laws that fail to account for context, morality, or human emotion. ​ Similar to Jean Valjean’s dilemma in Les Misérables: Is breaking the law justified if done for a noble cause? The Personal Becomes Political ​ The play serves as a microcosm of larger socio-political issues. ​ Nora’s act of forging a signature to obtain a loan symbolizes the lack of financial and legal autonomy for women. ​ The imbalance of rights, especially in financial matters, underscores broader themes of oppression. ​ There are no good choices available to Nora—her world, the societal structure, and her personal decisions all work against her. Feminism and Economic Agency ​ Is financial independence a feminist act? The play raises this question. ​ Historically, A Doll’s House is one of the first plays to engage with modern feminist discourse. ​ Even though the core issue in the play revolves around money, it is inherently a feminist struggle for agency. The Power of Small Acts in Revolutionary Change  ​ Nora’s decision to walk out and slam the door may seem minor, but it is symbolic of a larger shift. ​ Small acts often ignite major revolutions—both personal and societal. ​ This moment in the play is suspenseful because it raises the question: What comes next? Who Has the Right to Tell a Story? ​ Debate over representation: Can a privileged white man accurately portray the struggles of a marginalized group? ​ Ibsen’s privilege allowed A Doll’s House to gain visibility that a female or working-class writer may not have achieved at the time. ​ The play forced upper-middle-class audiences to confront issues they might have ignored had they been framed around a poor or working-class woman. ​ The same debate extends to contemporary media—who should tell certain stories? Example: Emilia Pérez, a film about a Mexican trans woman directed by a French man based on stereotypes. Representation in Theatre Productions ​ Productions should be representative of the story being told. ​ Casting that does not align with the identity of the character can complicate or misrepresent the narrative. ​ Playwrights often lack power over their work once it is handed over to directors and producers. Playwriting as a Collaborative Process ​ Modern theatre relies on collaboration to ensure accuracy and proper storytelling. ​ Playwrights must balance standing by their work while being open to new perspectives. ​ The modern era allows for flexibility in storytelling that historically did not exist. The Importance of Cultural Representation ​ A director once stated, "Color is culture," emphasizing that representation is not just about race but cultural authenticity. ​ Small details in a production contribute to the overall narrative. ​ Whitewashing occurs because some fear confronting the complexities of cultural narratives. The "Learn, Earn, Return" Philosophy of a Career 1.​ Learn - Absorb the craft and develop skills. 2.​ Earn - Gain respect and establish credibility. 3.​ Return - Give back to the community and future generations. The Impact of Representation in Theatre ​ Casting decisions influence audience perceptions and actor experiences. ​ Example: Aida production where only the lead was Black, leading to isolation for the actor. ​ Productions should be intentional about inclusivity and representation. The Commercialization of Theatre ​ Alternative endings and story alterations often cater to audience expectations rather than artistic integrity. ​ Commercial pressures can lead to compromises in storytelling. ​ Example: The pressure to adjust tragic endings for broader acceptance. Representation of Women in Theatre ​ Female characters are often villainized for asserting independence. ​ Example: Medea is seen as a villain for taking control of her fate. ​ A Doll’s House challenged gender roles by depicting a woman realizing her autonomy. A Doll’s House and Its Social Commentary ​ George Bernard Shaw viewed A Doll’s House as marking the end of an era in human history. ​ Nora’s realization: "I believe that I am a human being just as much as you are." ​ The idolization of wives and mothers often negates their humanity. ​ The play highlights how societal norms force women into decorative, passive roles. Nora’s Transformation in A Doll’s House ​ She initially relies on manipulation to maintain control. ​ The final letter from Krogstad reveals Torvald’s true nature. ​ Torvald’s quick shift from berating her to forgiving her invalidates her struggles. ​ The play’s ending signals a massive, irreversible shift in Nora’s perspective and life. Science, Photography, and Freud’s Influence on Realism ​ Realism in theatre was influenced by scientific advancements and photography, leading to a desire for precise replication of life on stage. ​ Photography’s influence: Louis Daguerre, an early inventor of photography, was originally a set designer, reflecting a link between visual accuracy and theatre design. ​ Freud’s psychology & Realism: ○​ Introduced individualism in character development. ○​ Stanislavski’s systematic approach to acting (emotional memory, psychological realism) aligns with scientific method principles.  ○​ The emphasis on internal psychology changed how actors approached character portrayal. ​ Theatre set & costume design evolved alongside these developments, creating more structured, detailed, and realistic environments. The Transition from Romanticism to Realism & Modernism ​ Romantic poets (e.g., Shelley) explored existential and psychological themes before theatre fully integrated them. ​ Theatre took time to "catch up" to these literary movements, as early theatre focused on spectacle rather than deep realism. ​ Realism’s dominance (late 19th century) led to a reactionary movement in the form of Modernism—artists wanted to challenge traditional theatrical structures. Realism vs. Modernism: A Shift in Theatrical Expression ​ Realism’s legacy: ○​ Even today, theatre is judged by how "real" it appears. ○​ "Real" can mean different things—beyond just physical accuracy. ​ Modernism’s response: ○​ Modernist theatre rejects realism’s limitations and instead focuses on alternative ways to express reality. ○​ Reality can be abstract—e.g., nightmares feel real but aren’t depicted as traditional narratives. Modernism’s Four Major Categories in Theatre 1.​ Political & Social Change Theatre: Includes expressionism, futurism, and theatre advocating social reform. 2.​ Exploration of the Subconscious: ○​ Inspired by Freud’s work on dreams and unconscious fears. ○​ Expressionist theatre presents psychological realities rather than literal ones (e.g., Munch’s The Scream as a visual example). 3.​ Universal Human Connection: ○​ Moving beyond language barriers to primal, shared human experiences (e.g., basic emotions, myths). 4.​ Art as a Response to Science: ○​ Contrasts with realism’s scientific approach (e.g., Zola’s naturalism). ○​ Instead of diagnosing social problems like a doctor, modernists use art to challenge, critique, or transcend science. The Evolution of Acting on Film Silent Film: Theatrical and Indicated Acting ​ Silent films rely on exaggerated gestures and physicality due to the absence of spoken dialogue. ​ Acting is "indicated" rather than "inhabited"—characters are types rather than complex individuals. ​ Example: The villain in early silent films is cartoonish, visually marked by symbols like a bowler hat and cigar to indicate wealth and greed. ​ The melodramatic style is rooted in 19th-century stage traditions, emphasizing clear moral binaries (hero vs. villain). ​ Tropes like the damsel in distress and the train track rescue were common. ​ Music was often played live, improvised by a pianist, which influenced later film scoring techniques. Transition to Sound: Stage Actors in Film ​ The arrival of sound (The Jazz Singer, 1927) created a crisis—Hollywood actors were untrained in vocal performance. ​ Solution: Hollywood recruited stage actors who were trained in voice projection and diction. ​ Example: A Bill of Divorcement (1931) ○​ Features stage-trained actors like John Barrymore, Billie Burke, and a young Katharine Hepburn. ○​ Acting is heightened and theatrical, with a strong emphasis on Mid-Atlantic diction (a formalized, stage-trained way of speaking). ○​ The film feels like a "filmed play," with limited use of cinematic techniques. ○​ Early sound films lacked naturalism, as actors and directors were still adjusting to the new medium. Method Acting and the Rise of Naturalism ​ By the 1950s, acting evolved towards psychological realism with the introduction of Method Acting (influenced by Stanislavski). ​ Example: A Place in the Sun (1951) ○​ Montgomery Clift (Method-trained) vs. Elizabeth Taylor (studio-trained). ○​ The film focuses on internal emotions over external action, using close-ups and intimate performances. ○​ The camera allows audiences to witness private, deeply personal emotions—unlike the exaggerated performances of earlier eras. A Streetcar Named Desire (1951): The Arrival of Method Acting ​ Marlon Brando’s film debut, reprising his Broadway role as Stanley Kowalski, directed by Elia Kazan (a former Group Theatre member, later blackballed by HUAC). ​ A rare case where a theater director directs the film, preserving some of the stage play’s style.  ​ Clash of Acting Styles: ○​ Vivien Leigh (Blanche) – Classical British stage training, Shakespearean background, known for her stylized performances. ○​ Marlon Brando (Stanley) – Method actor, highly naturalistic, moves as if the camera and set don’t exist. ​ Contrast in acting parallels the story itself: ○​ Blanche represents the old world, full of pretense and illusion. ○​ Stanley represents the new world, raw, physical, and emotionally unfiltered. ​ Brando’s rawness and lack of effort in his performance revolutionized film acting. ○​ He "exists" in the role, rather than performing it. ○​ His physical dominance and effortless movement through the set are radically different from previous styles. ​ Brando’s Method Approach: ○​ Allegedly used unorthodox techniques to unsettle Leigh, including not brushing his teeth for close-ups. ○​ His casual physicality and emotional authenticity contrast sharply with Leigh’s more traditional theatrical style. Henrik Ibsen: The Birth of Modern Drama & His Lasting Influence Ibsen’s Early Career & Exile ​ Born 1828, died 1906 – A long life spanning major political and artistic shifts. ​ First play published in 1850, which launched his career. ​ Became resident playwright and stage manager at the Norwegian National Theater and later worked at other theaters in Oslo. ​ Exiled himself for 27 years, living in Germany, Italy, and other parts of Europe. ○​ Reason for exile is unclear—he was private about his personal life. ○​ Used the time to refine his craft and become a dedicated theatre practitioner. ​ Wrote 25 plays between 1850 and 1899, showing a search for his voice and storytelling style. Three Phases of Ibsen’s Playwriting 1.​ Verse Drama (Early Career, 1850s–1860s) ○​ Focused on Scandinavian folklore and myths. ○​ Written in rhymed verse and poetic meter. ○​ Examples: ​ Peer Gynt (1867) – A blend of fantasy and reality, featuring a misguided hero on an epic journey. ​ Brand (1865) – A tragic idealist who destroys his own family due to his uncompromising nature. 2.​ Realism & Social Drama (1870s–1890s) ○​ Radical departure from verse drama—pivoted toward realism and social issues. ○​ This period includes some of his most controversial and influential plays. ○​ Example: A Doll’s House (1879)  ​ Culturally explosive—Nora leaves her husband to become independent. ​ Shocked conservative audiences—challenged ideas of marriage, motherhood, and gender roles. ​ Medical community backlash: Some doctors labeled "A Doll’s House Syndrome" as a condition of female hysteria. ​ English playwright George Bernard Shaw championed the play, ensuring its widespread influence. ​ Some actresses refused to play Nora, arguing that "a woman would never leave her children." ​ In England, Ibsen was forced to rewrite the ending, making Nora stay. ​ Ibsen later called this "a barbaric outrage." ​ The alternate ending is never used today. Playwright Power Then vs. Now ​ Playwrights had less control in Ibsen’s time. Producers could force rewrites and alter endings. ​ Today: Thanks to organizations like the Dramatists Guild, it is illegal to change a playwright’s script without permission. Lasting Impact of A Doll’s House ​ Even today, Nora’s decision remains controversial. ​ While women leaving marriages is more accepted, there is still a stigma around mothers leaving their children. ​ The play continues to spark debate about gender roles, family expectations, and personal freedom. ​ In England, some productions retitled the play Breaking a Butterfly—misunderstanding its core message. ​ Key question: Is A Doll’s House still relevant today, or is it just a historical artifact? Ibsen’s Revolutionary Impact: The Birth of Modern Drama ​ A Doll’s House (1879) is often considered the birth of modern drama because of its psychological complexity and rejection of melodrama. ​ The setting is familiar—an upper-middle-class home, drawing audiences into a world they recognize. ​ However, the content disrupts expectations: ○​ No one is entirely good or entirely bad—characters are morally complex and psychologically motivated. ○​ The play leaves the audience uncertain about how to feel, a radical departure from the clear-cut morality of traditional theatre. ​ Premiered in Norway, shocking audiences who were used to high drama with bloodshed and tears.  ○​ A Norwegian critic remarked: "Not a single death, no drop of blood, not even a tear." Companion Play: Ghosts (1881) ​ Another shocking social drama—often considered a thematic counterpart to A Doll’s House. ​ Focuses on Mrs. Alving, a woman who conforms to social expectations and stays in an abusive marriage. ​ Key themes: ○​ The illusion of the "respectable family." ○​ Repression of the truth leads to destruction. ○​ Taboo topics: The play hints at inherited syphilis, something "nice people" were not supposed to discuss. ​ The London Daily Mail called Ghosts "an open drain," showing the scandalous reaction to Ibsen’s unflinching realism. Other Major Plays: Expanding His Social Critique ​ Hedda Gabler (1890) ○​ Often called the "female Hamlet" because of her deep psychological complexity. ○​ One of the largest, most demanding roles for an actress—requires navigating Hedda’s contradictions and manipulations. ​ An Enemy of the People (1882) ○​ Audacious statement: "The masses are stupid." ○​ Explores mob mentality and the consequences of speaking unpopular truths. ​ The Wild Duck (1884) ○​ Represents Ibsen’s shift into symbolism and mysticism. ○​ A precursor to later symbolist theatre movements. Ibsen’s Theatrical Philosophy: Theatre as a Debate Hall ​ Ibsen was one of the first playwrights to demand that theatre challenge audiences and spark debate. ​ He rejected social lies, arguing that theatre should expose the truth rather than comfort people with illusions. ○​ Example: The idea that marriage is always sacred—his plays question who decided this and why. ​ His reputation as a radical free thinker came from his refusal to give simple moral answers. The Struggle Between Duty to Self vs. Duty to Society ​ A central theme across all three of Ibsen’s stylistic phases: ○​ Early verse dramas (Peer Gynt, Brand) explore mythic struggles between personal ambition and duty. ○​ Realist social dramas (A Doll’s House, Ghosts, Hedda Gabler) question whether individuals should conform to societal expectations.  ○​ Symbolist plays (The Wild Duck) take the struggle into psychological and mystical realms. Ibsen’s Influence on 20th-Century Playwrights ​ Almost every major 20th-century playwright claims Ibsen as an influence—either as a model to follow or a figure to rebel against. ○​ Eugene O’Neill worshiped Ibsen and modeled much of his work on Ibsen’s realism. ○​ Realists admire Ibsen for discarding non-realistic theatrical devices (like asides and soliloquies). ○​ Experimentalists admire his willingness to challenge conventions and explore psychological depth. Ibsen as a Model for Realism ​ Eliminates melodramatic tropes like villains and exaggerated conflicts. ​ Creates psychologically complex characters with dense backstories that actors must fully inhabit. ​ Uses the "well-made play" structure, but not for simple moral lessons—his endings often deny easy resolutions. ​ Characters are shaped by their heredity and environment, foreshadowing naturalist theatre movements. ​ Example: Nora’s actions in A Doll’s House are shaped by: ○​ Her father’s indulgence. ○​ Societal expectations of women. ○​ Her lack of education and financial independence. Ibsen’s Characters: Mastering the Inward Conflict ​ Characters in his plays are often hiding, lying, manipulating, or struggling internally. ​ They are morally ambiguous, forcing the audience to grapple with difficult questions rather than accept easy answers. ​ Example: Nora in A Doll’s House is in constant motion, fluttering around like a trapped bird, making the role exhausting to perform. Realists vs. Experimentalists: Who Claims Ibsen? ​ Realists claim Ibsen because he subverts melodrama and replaces it with psychological realism. ​ Experimentalists claim Ibsen because he questions the forces behind human destiny, often using symbolic elements (e.g., the white phantom horse in Rosmersholm). ​ Ibsen’s dual legacy makes him an enduring figure in both naturalist and symbolist theatre traditions. The Inwardness of Ibsen’s Characters ​ His characters are not loud, showy, or emotionally transparent—they are hiding things, covering up, manipulating, and struggling internally. ​ Example: Nora in A Doll’s House  ○​ Constantly in motion, trying to fix everything, like a trapped bird fluttering in a cage. ○​ Overwhelmed by external pressures while concealing her internal turmoil. ​ Morality is relative—Ibsen refuses to give clear villains or heroes, forcing audiences to confront moral ambiguity. Ibsen’s Rivalry with August Strindberg ​ Strindberg and Ibsen despised each other, engaging in a theatrical arms race. ​ Example: ○​ Ibsen writes Ghosts → Strindberg writes The Ghost Sonata in response. ○​ They constantly tried to outdo each other’s radical ideas. ​ Ibsen kept a photo of Strindberg on his writing desk—when asked why, he replied that seeing Strindberg’s face fueled his desire to write. Themes in A Doll’s House The Social Lie Exposed in the Play ​ Women must prioritize their husbands, families, and fathers over themselves—Ibsen calls out this patriarchal norm. ​ Surface appearance of the Helmer household: ○​ Looks perfect—wealth, beauty, happy children. ○​ Reality: Built on a lie, and Nora is trapped in an infantilized role. The Infantilization of Women ​ Torvald calls Nora “my little squirrel”—a term of endearment that highlights his patronizing control over her. ​ Nora is treated like a child, not a thinking adult, which reflects society’s broader attitude toward women. ​ She is expected to find happiness in submission—marriage and motherhood are supposed to be enough for her. Is Nora’s Struggle a “Princess Problem”? ​ Some argue that she has a comfortable life and is only dealing with upper-class frustrations. ​ However, this argument falls apart when examining her sacrifice: ○​ She forged her father’s signature to save Torvald’s life. ○​ She lives in fear of exposure, knowing the consequences could ruin her. ○​ Despite doing everything expected of her, she is still trapped and unfulfilled. ​ Nora’s desperation is universal—she is a woman trying to survive within a system designed to control her. The Real-Life “Nora” Who Inspired Ibsen ​ Based on Laura Kieler, a real woman who: ○​ Secretly took out a loan to save her husband’s health. ○​ Was caught, shunned, and institutionalized for two years.  ○​ Ibsen regretted not helping her and wrote A Doll’s House in response. ○​ After her release, she became a published writer, but was always known as "the real Nora." The Power of A Doll’s House Why It Still Resonates Today ​ The pressures on women to be perfect wives and mothers still exist in many ways. ​ Nora’s internal struggle and eventual rejection of societal expectations remain relevant. ​ Even though attitudes toward marriage and motherhood have changed, the double standards for men and women persist. The Play’s Climactic Moment: Nora’s Departure ​ The third act’s tension builds as Nora realizes she has been living a lie. ​ She decides to walk away from her family and home, an act that was scandalous in the 1870s. ​ Modern audiences are divided: ○​ Some celebrate her independence. ○​ Others feel conflicted about her abandoning her children. ​ Question for discussion: ○​ Are we still uncomfortable with Nora’s choice? ○​ Would the reaction be different if it were a husband walking away? Personal Reflections on the Play ​ Many feel strong emotions while reading or performing the play—anger, frustration, admiration. ​ One professor’s experience: ○​ While working on a production of A Doll’s House in grad school, he felt deep anger at the societal constraints placed on Nora. ○​ He realized that his frustration came from a modern feminist perspective, showing how the play still provokes strong reactions today. ​ A Doll’s House forced the world to confront uncomfortable truths about gender roles and personal freedom, making it one of the most seismic shifts in theatrical history. 1. The Importance of Training and Lineage in Method Acting ​ In Method training, lineage is crucial. who trained you matters. ​ Marlon Brando is widely claimed as a student by different schools, though he primarily trained with Stella Adler, despite many associating him with Lee Strasberg. 2. The Impact of the House Un-American Activities Committee (HUAC) and McCarthyism ​ Many major theatre figures in the 1940s-50s were accused of communist ties. ​ Most of these theatre practitioners were second-generation Americans, often from Jewish immigrant backgrounds. Konstantin Stanislavski's Influence ​ Stanislavski’s work was translated and interpreted in various ways in America, influencing different acting methods. ​ His ideas were foundational to the Group Theatre’s approach to realistic and politically charged performances. 3. Theatrical Landscape of the 1930s ​ Broadway in the Great Depression ○​ Despite economic hardship, Broadway still produced large-scale, escapist entertainment. ○​ The 1929-30 season had 298 plays, a stark contrast to today’s limited number of blockbusters. ​ Highbrow Theatres ○​ Theatre Guild (TG) – Produced intellectual and classic plays (e.g., Noël Coward, Philip Barry). ○​ Civic Theater – Run by Eva Le Gallienne, also focused on sophisticated productions. 4. The Rise of the Group Theatre (Founded in 1931) ​ A Response to Broadway and Highbrow Theatres ○​ Founded by Harold Clurman, Lee Strasberg, and Cheryl Crawford. ○​ Aimed to bring realism and political engagement to American theatre. ○​ Inspired by the economic and political crises of the Great Depression. ​ Harold Clurman’s Role ○​ Passionate advocate for theatre as a political tool. ○​ Began giving lectures in NYC apartments about theatre’s duty to inspire social change. ○​ Gained a dedicated following, leading to the formation of the Group Theatre.  ​ Ideals of the Group Theatre ○​ Focused on political and economic injustice, advocating for social change. ○​ Created a tight-knit community. Members lived, trained, and rehearsed together in Connecticut. ○​ Believed in ensemble acting—no individual stars. ​ Key Figures in the Group Theatre ○​ Clifford Odets – Playwright, wrote Waiting for Lefty (a defining piece of political theatre). ○​ Elia Kazan – Stage and film director (A Streetcar Named Desire, On the Waterfront). ○​ John Garfield – Actor (Golden Boy). ○​ Lee J. Cobb – First to play Willy Loman in Death of a Salesman. 5. Challenges and Legacy ​ Internal Conflicts – Disagreements over Stanislavski’s method led to divisions. ​ Hollywood’s Influence – Many Group Theatre members moved into film. ​ Short-Lived but Impactful – The company lasted about 10 years but revolutionized American acting. ​ Method Acting Evolution – Group Theatre members later established major acting schools (Adler, Strasberg, Meisner). Acting, Directing, and Producing Connections ​ For Actors: The Group Theatre emphasized emotional memory, a debated method in acting training. ​ For Directors: Elia Kazan and others pioneered a naturalistic, socially aware directing style. ​ For Producers: The company demonstrated how theatre can be both politically charged and commercially successful. Stella Adler: The Power of the Text ​ Jacob Adler (Stella Adler’s father) was a major figure in Yiddish theater. When he first came to America, Broadway producers wanted him to stage his play in English, but he refused because he didn’t speak English. Instead, they let him do it in Yiddish, meaning audiences had to sit through a play entirely in a language they didn’t understand. ○​ Reflection: This really underscores the influence of Yiddish theater in American entertainment. It was massive from the 1860s onward. Also, love the power move of making Broadway audiences watch in Yiddish! ​ Stella Adler, born into this world of Yiddish theater, made her stage debut at four years old! She became a legendary actor, director, and teacher. ○​ Why she’s so cool: She focused on finding emotion in the text rather than imposing feelings onto it. She believed everything an actor needs is already in the script—just look at the words!  ​ Adler trained some of the biggest names in Hollywood, including: ○​ Marlon Brando (arguably her most famous student) ○​ Robert De Niro ○​ Benicio Del Toro ○​ Mark Ruffalo ○​ And many more—she basically shaped the who’s who of method actors. ​ Degrees of Separation to Stanislavski: ○​ Stanislavski → Stella Adler → Richard Warner→ Ally→ You! (theatrical lineage is crazy close!) Lee Strasberg: The Method (and the Drama) ​ Strasberg was all about emotional memory—the idea that actors should recall personal experiences to fuel their performances. ​ Unlike Adler, who started with the script, Strasberg pushed actors to dig into their own past to generate real emotions on stage. ​ He founded The Actors Studio, which still operates today and teaches "The Method." ​ The problem with The Method: It got intense. Strasberg fostered a cult-like dependency in some students, making them feel like they couldn’t act without him. ○​ Marilyn Monroe developed a deeply dependent relationship with him. When she had breakdowns on set, he’d literally fly out to talk her out of her trailer. ○​ Dustin Hoffman, another method actor, made life hell for Meryl Streep on Kramer vs. Kramer, exploiting her grief over her late husband to get a more “real” performance from her. ○​ Adler's clapback: “If I had $1 for every student that came to me from Strasberg needing heroin or a therapist, I’d have enough to put you all on Broadway.” ​ Reflection: ○​ Strasberg’s approach made for brilliant performances, but at what cost? The emotional toll on actors was huge, sometimes outright abusive. ○​ Adler and Strasberg hated each other because they completely disagreed on how to interpret Stanislavski’s work. Strasberg thought Adler was getting it wrong, but Adler was like, “Oh? Hop on a plane and I’ll show you.” ○​ The 1940s–60s were peak indulgence for Method Acting. By the 1980s, the industry started course-correcting to balance Method with technical skill. ​ Trained James Dean, Marilyn Monroe, Jane Fonda Harold Clurman: Theater With a Purpose ​ Co-founder of the Group Theatre ​ Big believer that theater should reflect the world around it. ​ Famous quote: ○​ "Painters and composers were expressing contemporary society in their work. Where was this happening in theater?" He dedicated his life to filling that gap.  ​ Clerk’s Company Building Philosophy: Clerk was a big proponent of trust on stage and believed that the director should not be a boss but part of the ensemble. His approach emphasized egalitarianism, where the best idea in the room could come from anyone, including stage managers or extras. This helped foster better work as collaborators felt trusted rather than controlled. ​ Cheryl Crawford: As the financial manager and later producer of the Group Theater, Crawford helped bring many important productions to life, including Porgy and Bess and Brigadoon. She co-founded the Actor's Studio with Strasberg and faced significant challenges during McCarthyism. She played a vital role in the administrative side of theater production. ​ Sanford Meisner: Meisner was a former actor in the Group Theater who distanced himself from method acting, finding it too manipulative. He founded the Neighborhood Playhouse and focused on spontaneous acting, emphasizing "the reality of doing" — acting driven by immediate surroundings and emotional truth. His method used repetition to help actors tap into a pure emotional response. He trained many famous actors such as Diane Keaton, Peter Falk, and Philip Seymour Hoffman ​ Michael Chekhov: The nephew of playwright Anton Chekhov, Michael was an influential actor and director who introduced the concept of the "psychological gesture," using physicality to express a character’s psychological state. He balanced emotional life and physicality on stage and trained actors like Clint Eastwood, Anthony Quinn, and Yul Brynner. His work highlighted the integration of an actor’s personal perspective with the character they portray. ​ Robert Lewis: A member of the Group Theater who later contributed significantly to the training of actors at Yale School of Drama. He worked with actors like Montgomery Clift, Marlon Brando, and Meryl Streep. ​ Elia Kazan: Known for his influential directing, Kazan’s legacy was marred when he named names during the HUAC hearings, identifying his colleagues in the Communist Party. This action led to him being blacklisted and forever linked to the cultural blacklist of the McCarthy era. Uta Hagen's Background:  ​ Born in Germany (1919), Uta Hagen studied at the Royal Academy of Dramatic Arts. ​ By 18, she was a professional actress, playing Ophelia in Galilean's Production. ​ Broadway debut in Chekhov's The Seagull, playing Nina with Alfred Lunt and Lynn Fontanne. ​ Married actor José Ferrer (both trained by prominent figures), later divorced due to her affair with Paul Robeson while performing as Desdemona to his Othello in London's West End. ​ This affair was a scandal, especially since Robeson was one of the first Black actors to play Othello in the 20th century. Notable Roles and Achievements: ​ Created the role of Martha in Who's Afraid of Virginia Woolf?, winning three Tonys. ​ Blacklisted by the House Un-American Activities Committee (HUAC) for refusing to name names. ​ Famous for rejecting George Bernard Shaw’s quote: “He who can, does; he who cannot, teaches.” Hagen believed only those who can do should teach. Acting Philosophy: ​ Worked with Harold Clurman, who significantly influenced her approach. ​ Clurman helped her get rid of "tricks and masks" in acting, focusing on fresh, unpreconceived portrayals of roles. ​ Advocated for using personal emotional memory in rehearsals but emphasized the importance of transferring that emotion to the character during the process, making it authentic to the role. Books and Legacy: ​ Wrote two essential acting books: Respect for Acting and Challenge for the Actor. ​ Trained a range of actors including Jodie Foster, Sigourney Weaver, Whoopi Goldberg, Robert De Niro, Liza Minnelli, and Debbie Allen. ​ Was Judy Garland's vocal coach for dialect, not singing. ​ Yevgeny Vakhtangov: ○​ A student of Stanislavski, Vakhtangov became an important Russian theater director. His contributions are significant in the context of Russian theater history and experimentalism. ​ Vsevolod Meyerhold: ○​ Meyerhold was a prominent Russian director and theater practitioner, known for his experimental and physical approach to theater. He's the person in the picture on Blackboard, looking “salty” in the corner (likely from The Seagull). ○​ Meyerhold is an important figure when studying the evolution of experimental theater. ​ Stanislavski's Moscow Art Theater Company: ○​ Two of Stanislavski’s actors from his company, Richard Boloslawski and Maria Usinskaia, moved to the U.S. and started their own acting schools.  ○​ Their teachings had a significant influence on American actors, contributing to the development of acting techniques here. ****** Personal and Professional Overlaps = There were complex relationships among these influential figures. Some had affairs, others were married, and many hated each other. These personal dynamics add layers to the history of theater training and can make it more difficult to untangle their contributions, as they were all deeply interconnected. Broadway in 1929-1930: ​ In the late 1920s and early 1930s, Broadway saw a huge volume of productions, including plays, musicals, dramas, and comedies. However, a significant shift occurred as musicals began to dominate Broadway. Shift to Musicals: ​ The transition to musicals becoming the mainstay on Broadway reflected changes in audience tastes, including shorter attention spans, and economic factors that made musicals more financially viable. ​ In the mid-20th century, plays produced by institutions like the Theater Guild were often multi-act, large-scale productions with large casts (sometimes 20+ actors), but this began to shift. ​ The "incredible shrinking American play" book discusses this narrowing of the format and the decreasing prevalence of straight plays on Broadway. Walt Disney's Impact on Broadway: ​ Disney's entry into Broadway in the late 1970s and early 1980s revitalized Times Square, transforming it into a family-friendly destination. Disney's adaptation of musicals helped change the landscape of Broadway. ​ This move towards Disneyfied versions of musicals turned Broadway into a high-stakes financial market, making it increasingly difficult for non-musical plays to thrive. Producing a Broadway show became incredibly expensive, and musicals were seen as more likely to recoup the costs. Impact of Economic Pressures: ​ The economics of Broadway, with its focus on musicals as a safer investment, led to fewer opportunities for non-musical productions. Despite the dominance of musicals, some plays like Rent became exceptions, becoming hits without the financial backing typically required for Broadway productions. Regional Theater and Pulitzer Prizes:  ​ While Broadway may have become more commercially driven, regional theaters flourished. Many recent Pulitzer Prize-winning plays come from regional theaters rather than Broadway. ​ Angels in America, for example, premiered at a regional theater (Mark Taper Forum) before becoming a Broadway hit. The Hollywood Blacklist: ​ The section also touched on the Hollywood Blacklist, which targeted many intellectuals, artists, and performers suspected of Communist sympathies during the mid-20th century. Some notable figures included: ○​ Hallie Flanagan (Federal Theater Project director) ○​ Stella Adler, Aaron Copland, Lee J. Cobb, Langston Hughes, Dashiell Hammett, and Orson Welles among others. ○​ Katherine Hepburn ​ The blacklist had a profound effect on these individuals, with some like Paul Robeson having their careers ruined and even leaving the country. ​ Lucille Ball was notably included in the blacklist, which was a surprising twist given her later mainstream success with I Love Lucy. Even works that seemed to support worker rights or unionization, like Clifford Odets’ plays, were viewed through a communist lens. Odets’ work which emphasized the importance of unions and fair wages, was interpreted as promoting communist values, even though the play’s message was rooted in social justice and labor rights. Stanislavski’s Acting Method Given Circumstances The background details and context of a scene help actors ground their performances, ensuring authenticity and depth. Sense Memory Actors use personal sensory experiences (e.g., recalling the sensation of being burned) to bring realism to their performances. The Illusion of the First Time Even after extensive rehearsals, actors must create the feeling that each performance is happening for the first time. Repetition and Realism Rehearsing repeatedly allows actors to perform naturally, similar to how athletes practice movements until they become second nature. ​ Example: A basketball player doesn’t consciously think about each step in a layup; their body instinctively knows what to do, allowing them to focus on energy and emotion. The Magic "If" A tool for actors to imagine themselves in their character’s shoes: ​ "If I were this character in these circumstances, how would I react?" ​ Helps actors portray experiences they have never personally had. Balancing Relaxation and Emotion Despite focusing on strategy, obstacles, and emotional depth, actors must remain relaxed on stage. ​ Some actors rely on adrenaline, while others achieve complete relaxation. Emotional Memory and Its Challenges Emotional memory involves recalling personal experiences (e.g., remembering the day a pet died) to evoke emotions. However, it presents challenges: ​ Risk of making performances too personal rather than true to the character.  ​ Example: An actor’s personal experience of sadness may not match how their character would express sadness. ​ Many American acting schools integrate emotional memory, though Stanislavski later distanced himself from over-reliance on it. Practical Acting Example A director once advised an actor not to exhaust herself emotionally in every performance. The actor resisted, believing her character required intense emotional commitment. This highlights the debate on whether emotional memory is necessary or potentially harmful to an actor’s well-being. A notable instance occurred in an acting class when a student used a deeply personal object (his cell phone with a cartoon drawn by a late friend) in an exercise. The intensity of his emotions was too raw and unsafe for acting practice, underscoring the dangers of unfiltered emotional recall. Method Acting vs. Stanislavski’s Approach A famous story from Marathon Man illustrates the divide between method acting and Stanislavski's principles. Dustin Hoffman, known for method acting, deprived himself of sleep and sustenance to prepare for a scene. Laurence Olivier, observing this, famously remarked, "Why don’t you try acting, son?" This underscores the importance of the "Magic If" and safe emotional distance in performance. The Actor’s Craft: A Lifelong Pursuit Stanislavski emphasized that an actor never stops refining their craft: ​ "Your ego has no place here. It is not about you, the actor, or the star. It is about serving the character and the text." ​ He constantly revised his techniques, acknowledging that even his early methods required refinement. Stanislavski’s Lasting Influence His techniques apply across genres, from classical texts to contemporary drama, reinforcing authenticity and depth in performance. Evolution of Acting on Film A progression in acting technique can be observed in film history: 1.​ Silent films: Over-the-top melodrama. 2.​ Early talkies: Stiff, theatrical performances.  3.​ Montgomery Clift & A Streetcar Named Desire: A shift towards realism, influenced by Stanislavski. Stanislavski’s Key Quotes & Their Meaning ​ "Create your own method. Don’t depend slavishly on mine." ○​ Encourages actors to adapt techniques to their needs while continuing to push boundaries. ​ "Unless the theatre can ennoble you, make you a better person, you should flee from it." ○​ Warns that misused theatre can reinforce negative qualities; actors must remain humble and committed to growth. ​ "There are no small parts, only small actors." ○​ Emphasizes that every role, no matter how minor, deserves full commitment. He repeatedly intervened on behalf of his contemporary, Vsevolod Meyerhold, who was deemed too radical and was eventually executed by Stalin after Stanislavski’s death. ​ His influence extended globally, with many of his students spreading his acting method across different countries. Key Figures in Stanislavski’s Acting Method Diaspora ​ Richard Boleslavsky: Brought Stanislavski’s ideas to America. ​ Maria Ouspenskaya: Another Moscow Art Theatre director who introduced method acting to American actors. ​ Michael Chekhov: One of Stanislavski’s students who moved to America, trained actors, and became a successful actor himself (even winning an Oscar). ​ Evgeny Vakhtangov: A significant Russian director trained by Stanislavski, known for furthering his techniques. Stanislavski’s Key Works Stanislavski documented his theories in four essential books: 1.​ My Life in Art 2.​ An Actor Prepares 3.​ Building a Character 4.​ Creating a Role ​ These books were translated into English by Elizabeth Hapgood, but her translations were criticized for being inaccurate and out of order. Discussion on Anton Chekhov’s Three Sisters  ​ Chekhov considered all his plays comedies except Three Sisters. ​ The play was first produced by the Moscow Art Theatre in 1901, co-directed by Stanislavski and Nemirovich-Danchenko. ​ Notable original cast members: ○​ Olga Knipper-Chekhova (Chekhov’s wife) played Masha. ○​ Maria Lilina (Stanislavski’s wife) played Natasha, a disliked character. Themes & Dramaturgy ​ Despite being a "busy" play with many events (affairs, duels, gambling, marriage), the core characters do not change. ​ The central conflict revolves around the sisters' dreams of moving to Moscow, which remains an unattainable goal. ​ The final line of the play ("If we only knew") emphasizes their stagnation and entrapment. ​ The sisters are forced to come to terms with reality by Act IV, yet their circumstances remain unchanged. ​ This sense of longing and inability to escape is relatable, drawing parallels to people in small towns who dream of leaving but never do. Notable Interpretations & Insights ​ A famous critic once dismissively suggested, "Just buy them a train ticket to Moscow," missing the deeper thematic message. ​ The play resonated strongly with audiences during the pandemic, as it reflected feelings of isolation and longing for a different life. Natasha’s Character Analysis: ​ Natasha is a deeply flawed and manipulative character. ​ She starts with no power, being mocked by the three sisters for being uncouth and of the wrong class. ​ Instead of growing from hardship, she becomes worse—bad experiences corrode her rather than improving her. ​ Chekhov explores how human nature and insecurities can turn people into bad actors rather than perfecting them. ​ Natasha’s transformation is rapid; by Act II, she is already corrupted. ​ She becomes possessive and toxic, obsessed with control and asserting dominance (e.g., regarding her child, Bobbik, as superior to others). ​ Natasha embodies the idea that those with little power seek to control their small world. ​ Her character reflects a melodramatic trope twisted into realism—initially set up as part of a romantic young couple, but quickly dissolving into dysfunction. Themes of Manipulation and Power: ​ In small worlds, power grabs are exaggerated.  ​ Holding onto resentment and past grievances fuels toxicity (e.g., Natasha remembers being told not to wear something and holds onto the slight for years). ​ Family dynamics play a crucial role, resentments resurface long after events occur. ​ Chekhov presents characters who are psychologically complex but whose actions remain simple and rooted in emotional realities. Structural Elements in the Play: ​ Natasha’s rise contrasts with the sisters’ downfall, creating a clear structural element. ​ The play begins with a name day (a celebration) and ends with a death day, reinforcing its cyclical nature. ​ Movement in and out of scenes plays a structural role—arrivals and departures define key moments. ​ The battalion’s arrival shakes up the stagnant town, but their departure signals lost opportunities and stagnation for the sisters. ​ The structure is often criticized as lacking, but it is filled with clear dramatic and thematic patterns. ​ Every character follows a distinct trajectory. If mapped out, it would create a chaotic web rather than a linear progression. Realism and Psychological Depth: ​ Chekhov bridges traditional realism and emerging modern psychological complexity. ​ The play is not about complex plot mechanics but rather intricate character development. ​ Flawed characters drive the story, no one is wholly good or bad, but they are deeply human. ​ Traditional dramatic tropes (like the young lovers) are subverted, emphasizing the imperfections of human nature. ______________ ​ The characters who find contentment by the end are not the main ones—the sisters remain stuck, while Natasha, Masha’s husband, and Anfisa (the old caretaker) achieve some sense of stability. ​ Chekhov rejects the idea that suffering necessarily leads to growth or redemption. ​ The play’s structure mirrors the chaos and unpredictability of life, reinforcing its emotional impact. Themes and Character Dynamics: 1.​ Fragility of Relationships: ○​ The relationships between characters are fragile, constantly shifting, and filled with tension. ○​ A poignant moment occurs at the end of Act 4 when Arena and Susan decide to marry, not out of love but practicality. The husband goes off to fight a duel and is killed, leaving behind a trivial last conversation about coffee. ○​ The triviality of their final exchange highlights the human nature of mundane conversations, making the ending more tragic. 2.​ Masha's Character: ○​ Masha is a cynical, ambitious woman who struggles with unfulfilled desires. ○​ She is outspoken, often questioning societal norms and reality. ○​ Her interactions with Rashid, especially when he speaks about future idealism, contrast her cynicism with his optimism. ○​ The subtle moment when Masha laughs at Rashid’s idealism shows her transformation, from cynic to someone genuinely moved by his energy. This change is essential for the emotional impact when she later experiences heartbreak. 3.​ Olga's Role: ○​ Olga, the oldest sister, represents the quiet, responsible figure who has come to terms with not marrying. ○​ She finds fulfillment through small, often unnoticed acts of kindness, such as defending the house servant from Natasha's bullying. ○​ Despite doing the emotional labor for the family, she receives little recognition. Her actions, like taking care of everyone without expectation, reflect the silent burdens of caregiving. 4.​ Rashid’s Philosophy: ○​ Rashid expresses that society will eventually improve, but this change will take centuries, and he believes in working toward a better future. ○​ Masha’s reaction to this idea, laughing, shows her shift in perspective—she is charmed by his optimism despite herself. 5.​ Irina's Idealism vs. Reality: ○​ Irina idealizes work and believes it will bring her fulfillment. Her character echoes Chekhov’s awareness of the Soviet reality that was soon to come, where work becomes the defining force in life. ○​ As Irina struggles to make a meaningful life for herself, her belief in work as salvation starts to unravel, leading to a realization of her own isolation. 6.​ Olga’s Resignation and Growth: ○​ Olga's quiet resignation to her unfulfilled dreams is a central theme in her character arc. She has "aged ten years" in a single day, reflecting the weight of caregiving and emotional labor. ○​ By the end of the play, Olga is thrust into the role of head of the household, taking on responsibilities she never wanted. Her ability to silently "woman up" in the face of this challenge emphasizes her selflessness. Chekhov’s Craft: 1.​ Small, Quiet Moments that Shape Lives: ○​ Chekhov excels in showing how minor events, such as deciding to stay for lunch or a casual laugh, can change the course of a character’s life. ○​ The play is filled with tiny, everyday moments that hold immense emotional weight, reflecting the ordinary yet significant nature of human experience. 2.​ Chekhov’s Humor and Heartbreak: ○​ The blend of humor and tragedy in the play is essential to its depth. Moments of absurdity, such as Masha's laughter in the face of serious conversations, add complexity to the emotional landscape. ○​ The juxtaposition of life’s triviality and heartbreak reflects the humor in daily existence, making the play both relatable and poignant. 3.​ Universality of the Sister Dynamic: ○​ The relationships between the three sisters are central to the play’s exploration of family dynamics. ○​ The dynamics between Masha, Irina, and Olga are timeless and universal, as seen in comparisons to modern portrayals of sibling relationships, such as in Lin Manuel Miranda’s work. Final Thoughts: ​ The play, while rooted in a specific cultural context, resonates universally through its exploration of human vulnerability, relationships, and unfulfilled dreams. ​ Chekhov’s ability to focus on small, human moments makes the play a rich study of life’s contradiction between the trivial and the significant, between humor and heartbreak. Artistic Movements and Time Periods: ​ Renaissance (1510-1700s): Marked by a revival of Greek and Roman ideals, focusing on humanism, symmetry, and order. In theater, this era saw the rise of structured dramatic forms and the use of proscenium stages. ​ Enlightenment (1700-1790s): Emphasis on reason, logic, and empirical evidence. Theater began reflecting societal structures and rational discourse. This era paved the way for "well-made plays" that appealed to the intellect. ​ Romanticism (1790s-1830s): Shift toward emotional expression, individualism, and the sublime. In theater, this was seen through the popularity of melodramas and works that celebrated the natural world and raw human emotion. ​ Realism (1830s-1840s): Focused on portraying everyday life and ordinary people. This movement rejected the idealized characters and scenarios of Romanticism. ​ Modernism (1880s): An artistic break from traditional forms, reflecting rapid societal and cultural changes. It emphasized innovation and experimentation in storytelling and production methods. Scientific and Technological Impact on Theater: ​ Scientific Discoveries and Authority (c. 1900): ○​ A wave of scientific breakthroughs led to a unified narrative about human evolution and the natural world, granting science immense societal authority. ○​ This era marked a decline in religious explanations as the sole source of truth, as science became the primary method of understanding the universe. ○​ The scientific method provided a framework for proving or disproving facts, establishing science as cumulative and cohesive. ​ Impact on the Arts: ○​ Science began undermining the arts, introducing "hard facts" that challenged subjective interpretations. ○​ As technology advanced, it provided faster communication and resources, though it failed to fulfill the emotional and spiritual needs that theater traditionally addressed. ​ The Age of Psychology: ○​ Freud's theories (e.g., id, ego, dreams) influenced realism and surrealism, allowing exploration of subconscious themes on stage.  ○​ Psychology shifted focus to individual self-actualization, which some viewed as a more self-centered perspective. ○​ The arts adapted to these rapid societal changes or risked becoming irrelevant. Key Themes to Observe Throughout the Semester: 1.​ Art vs. Science: ○​ The push and pull between scientific objectivity and artistic subjectivity. ○​ How realism in theater reflects scientific and photographic influences. 2.​ Realism vs. Idealism: ○​ Realist perspectives rejecting depictions of the supernatural or otherworldly. ○​ Idealism responding to realism and science, offering an alternative lens. 3.​ Censorship and Patronage: ○​ The influence of who funds the arts and how this controls the artistic message. ○​ Historical examples of censorship shaping theater's development. 4.​ Technological Advances in Theater: ○​ The invention of the director’s role due to new technologies in scenic design, costumes, and lighting. ○​ Shifts from traditional actor-manager systems to centralized artistic leadership. Country-Specific Theater Histories: France: ​ Government Influence: ○​ The establishment of L’Académie Française as a tastemaker ensured realism dominated the stage, prohibiting surrealism or fantastical elements. ○​ Urban-centric theater catered to the elite, particularly in Paris, with government-supported venues like the Opéra. England: ​ Theater Evolution: ○​ Restoration-era theaters (e.g., Drury Lane) gained royal approval, showcasing heroic and sentimental dramas. ○​ Licensing acts censored plays to prevent political critique, reinforcing art’s provocative power.  ○​ David Garrick pioneered realistic acting techniques and standardized production elements. Germanic States: ​ State-Supported Theaters: ○​ The Gotha Court Theater treated actors as government workers, offering stability and healthcare. ○​ Goethe’s exploration of historical German themes introduced a blend of realism and emotional depth. Russia: ​ Westernization and Realism: ○​ Under Peter the Great, Russian theater absorbed European influences but evolved toward a unique realist style by the 19th century. ○​ Private court theaters reflected the vast wealth and scale of Russian nobility. Romanticism vs. Realism in Theater: ​ Romanticism’s melodrama emphasized clear morals, simple characters, and nature as inherently good, appealing to broad audiences but offering little artistic challenge. ​ Realism rebelled against these simplistic narratives, aiming to portray life’s complexities and societal realities. Background Context ​ Before Stanislavski, Western acting was heavily influenced by melodramatic traditions: ○​ Characters were stereotypical and played according to type. ○​ Acting was based on passed-down traditions, reinforcing codified gestures and poses (influenced by François Delsarte). ​ Delsarte’s approach: Overly dramatic, gesture-focused acting passed down generationally. ​ Shift in Russia: ○​ Anton Chekhov (playwright) and Konstantin Stanislavski (director) revolutionized acting and theatre with realism and new techniques. Anton Chekhov (1860–1904) Biographical Highlights: ​ Born to peasant parents in Taganrog, southern Russia, one of six surviving children. ​ Father: A brutal, alcoholic man who physically abused his family. ​ Chekhov demonstrated a "strange sourceless maturity," even as a child. ​ Called out others' cruelty in letters, including his older brothers for mistreating servants and wives. Early Life and Career: ​ Participated in a small peasant theatre as a teenager. ​ At 16, took on adult responsibilities when his father went bankrupt: ○​ Settled family debts and managed the estate before joining his family in Moscow. ​ Studied medicine in Moscow, becoming a practicing doctor. ○​ Dedicated his medical career to helping the poor in tenements and slums. ○​ Contracted tuberculosis, leading to his death at 44. Writing Career: ​ Began writing short stories for income during med school. ​ Prolific: Wrote over 400 short stories by age 26. ○​ Renowned for graceful, detailed observations of life ○​ Initially famous in Russia for short stories, likened to Dickens in England. Transition to Playwriting: ​ Urged by friends to write plays due to the rise of realism in Russian theatre, particularly at the Moscow Art Theatre, founded by Stanislavski. ​ First play: Ivanov – Early success but rough in structure.  ​ Significant one-act plays: ○​ The Bear ○​ The Marriage Proposal Major Plays 1.​ The Seagull (First significant play): ○​ Original production: A disaster due to misunderstanding of its lyrical realism and comedic elements. ○​ Chekhov vowed never to return to theatre after the failure. 2.​ Rescue by Stanislavski: ○​ Stanislavski persuaded Chekhov to let him produce The Seagull at the Moscow Art Theatre. ○​ Under Stanislavski’s vision and acting techniques, the play became a massive success. ○​ This collaboration marked a transformative moment in theatre, combining Chekhov’s writing with Stanislavski’s innovative approach. Konstantin Stanislavski (1863–1938) Key Contributions: ​ Founder of the Moscow Art Theatre, a groundbreaking institution still active today. ​ Developed a new acting style centered on realism, contrasting melodramatic traditions. Stanislavski’s Acting Technique: ​ Aimed to create truthful, lifelike performances: ○​ Focus on the psychological depth of characters. ○​ Internal motivations and emotional authenticity. ​ Techniques included: ○​ The "Magic If" – Actors asking, “What if I were in this situation?” ○​ Emotional memory – Drawing on personal experiences to connect with the role. ○​ Active objectives – Focusing on what a character wants in every moment. Legacy with Chekhov: ​ The success of The Seagull laid the foundation for future collaborations. ​ Stanislavski’s method allowed Chekhov’s subtle realism and humor to shine. Context in Russian Theatre ​ Prior to Chekhov and Stanislavski:  ○​ Russian theatre relied heavily on adaptations of Western hits. ○​ Realism was a new and revolutionary movement in Russian drama. ​ Moscow Art Theatre: ○​ Became a hub for this innovative style, combining Chekhov’s realistic writing with Stanislavski’s visionary direction. Got it! Here's a streamlined and organized set of notes converted from the lecture: Anton Chekhov: Empathy and Humanism in Theatre ​ Chekhov approached human behavior with empathy, akin to a doctor’s bedside manner combined with the scientific method. ​ Why Chekhov is Admired: ○​ Deep understanding of human suffering and the human condition. ○​ Recognized the small, petty tragedies of life rather than grand, Shakespearean ones. ○​ As a doctor, he was an observer of human nature, which shaped his writing. Chekhov and Comedy in Realism ​ Chekhov’s sense of irony and observation: ○​ He observed life’s details, finding humor and tragedy in the mundane. ○​ His characters are often stuck—ambitious but unable to escape their small lives. ​ Key Themes in Chekhov’s Works: ○​ Stasis and frustration in life. ○​ Thwarted ambitions and unfulfilled dreams. ○​ Aspiration to a better life without the tools to achieve it. ○​ Example: Three Sisters repetition of “If only we could go to Moscow” represents yearning without action. Chekhov and the Moscow Art Theater ​ The Seagull was co-directed by Konstantin Stanislavski and Vladimir Nemirovich-Danchenko. ​ Collaboration between Chekhov and the Moscow Art Theater: ○​ Produced all major works (The Seagull, Uncle Vanya, Three Sisters). ○​ Theater was known as the "House of Chekhov." ​ Conflict with Stanislavski:  ○​ Disagreements over realism Stanislavski’s focus on heavy realism vs. Chekhov’s preference for "lyrical realism. = favored realistic, not straight realism" ​ Famous example: The “cricket fight” over background sound effects in The Seagull. Historical Context of Chekhov’s Plays ​ Set during a turbulent time in Russian history: ○​ 1860s: Abolition of serfdom. ○​ 1904: Chekhov’s death, just before the first Russian Revolution (1905). ○​ The plays reflect a society on the brink of change, though the characters remain unaware. ○​ Characters are “dancing on the edge of a cliff,” representing a way of life about to end. Chekhov’s Unique Play Structure ​ Narrative Style: ○​ Unlike traditional dramatic structures (e.g., Ibsen’s A Doll’s House), Chekhov’s plays lack clear, forward-moving plots. ○​ Compared to jazz: Individual moments and “instruments” come together in a subtle, cohesive way. ​ Focus on Small Moments: ○​ Life portrayed through incremental details rather than grand events. ○​ Example: A duel in a melodrama would happen on stage; Chekhov focuses on the lead-up and aftermath. Chekhov’s Tragicomedy ​ Combines comedy and tragedy in everyday life. ​ Known for psychological action over dramatic events. ​ His characters, though flawed, are strong and drive the narrative. Chekhov’s Legacy and Character ​ Balances noble acts and personal flaws: ○​ Built a school, clinic, and fire station on his estate for the local population. ○​ Known for his quote:​ "Medicine is my lawful wife, and literature is my mistress." ○​ Frequented brothels, reflecting his imperfections. Medical Services and Generosity: ​ Chekhov was tireless in providing medical services to those who couldn't afford them, even as his own health declined. ​ Despite long-term illness, he remained active and generous until the end. Social Outrage and Siberian Exposé: ​ Chekhov traveled to Siberia to interview political prisoners and convicts, exposing the harsh realities of their lives. ​ His resulting exposé gained widespread popularity and highlighted systemic injustices. Academy of Science Resignation: ​ Elected to the Russian Academy of Science, an honor akin to receiving a congressional commendation. ​ Resigned in protest when Maxim Gorky, a fellow writer and friend, was expelled, demonstrating his principles and loyalty. Marriage to Olga Knipper: ​ Married Olga Knipper, an actress in the Moscow Art Theatre. ​ They had contrasting lifestyles: Chekhov preferred the countryside, while Olga's acting career kept her in Moscow. ​ She was by his side when he died. Declining Health and Death: ​ Chekhov’s declining health was a long-standing concern in his circle. ​ In his final moments at a German spa, he requested champagne, remarking, "It has been so long since I had champagne," before passing away. ​ Olga's accounts of his death became more embellished over time, but the initial version is considered the most accurate. Transport and Burial: ​ Chekhov’s body was transported back to Moscow in a railcar used for frozen fish, sparking outrage. ​ His funeral coincided with that of a general, causing confusion when mourners followed the wrong coffin. ​ Chekhov was buried with his family in Moscow. Key Philosophical Quotes: ​ "Behind the door of every happy, contented man, someone stands with a hammer, reminding them that trouble will come: disease, poverty, losses. Be grateful and stay kind, as life’s tables can turn unexpectedly." ​ "You despise life because its meaning is hidden from you. But the truth is hidden from all. Stop being selfish; others suffer too." Ian McKellen on Performing Chekhov: ​ McKellen likened performing Chekhov to climbing a mountain roped together with fellow actors, sharing the glory if successful. ​ He emphasized that mastering Chekhov, Shakespeare, and improv is the foundation of versatile acting. Challenges of Performing Chekhov: ​ Chekhov’s works demand subtlety, emotional complexity, and collaboration among actors. ​ Characters often exhibit deep emotions, such as bursting into tears, requiring nuanced performances. ​ Chekhov offers a unique blend of emotional vulnerability and ensemble work that is challenging yet rewarding. Introduction to the West: ​ Chekhov’s plays weren’t performed outside Russia until the 1920s. ​ George Bernard Shaw played a key role in translating and popularizing Chekhov’s works in the English-speaking world. Chekhov and His Influence: ​ Discovery of Chekhov: ○​ English director Gordon visited the Moscow Art Theatre. ○​ Encountered Chekhov’s work, described it as “whispered, exceedingly beautiful” but doubted its Western appeal (he was wrong).. ​ Reading Chekhov: ○​ His work can seem static on the page but transforms theatrically when staged. ○​ Readers must actively envision how scenes play out on stage.  ​ Further Reading: ○​ Recommended book: Reading Chekhov by Janet Malcolm (combines travelogue with literary analysis). Introduction to Konstantin Stanislavski: ​ Key Dates: 1863–1938. ​ Historical Context: ○​ Major events during his lifetime: World War I, Russian Revolution, industrialization. ○​ Stanislavski survived Stalin’s era—a rarity for prominent artists. ​ Russian Silver Age: ○​ Period before WWI and the Russian Revolution known for cultural flourishing. ○​ Artists explored modernism while integrating Russian folklore and traditions. ○​ Influential figures: ​ Maxim Gorky (playwright), Vsevolod Meyerhold (director), Marc Chagall (painter), Wassily Kandinsky (painter), Anna Akhmatova (poet), Sergei Diaghilev (Ballets Russes). ​ ​ Stanislavski’s Background: ○​ Born into a wealthy merchant family in Moscow. ○​ Original family name: Alexeyev. ○​ Introduced to theater through his family’s private theater, the Alexeyev Circle. ○​ Acting from a young age but faced opposition from his father, who insisted on a practical career. ​ Influences and Early Development: ○​ Exposure to prominent artists like Stravinsky and renowned tenor Chaliapin. ○​ Inspired by foreign performances (e.g., French mime), which he saw as far superior to Russian theater at the time. ○​ Quit formal acting school due to dissatisfaction with traditional methods that prioritized imitation over innovation. Stanislavski’s Vision: ​ Critique of Contemporary Acting: ○​ Found it melodramatic and amateurish. ○​ Sought to elevate acting into a respected, disciplined art form. ​ Innovative Approach: ○​ Developed methods to teach and disseminate better acting techniques. ○​ Focused on authenticity, individuality, and emotional truth in performance. ​ Dedication to Craft: ○​ Practiced obsessively, often in front of a mirror. ○​ Emphasized creating unique interpretations of roles rather than replicating past performances. Importance of Stanislavski's Method ​ Pioneering Realism: Introduced a structured approach to creating characters across genres (tragedy, farce, comedy). ​ Evolution of Ideas: Adapted his theories over time, retracting some (e.g., emotional memory) while refining others. ​ Influence: Laid the foundation for realistic acting, offering universally applicable tools to actors. Collaboration with Nemirovich-Danchenko ​ Partnership Origins: ○​ Founded the Moscow Art Theater after an 18-hour discussion on modernizing theater. ○​ Shared a vision of sets, costumes, and acting grounded in realism. ​ First Production: ○​ Rehearsals began in 1898, culminating in The Seagull by Chekhov, a groundbreaking success. ○​ Created a sense of eavesdropping on real-life moments, reshaping audience expectations. Impact of the Moscow Art Theater ​ Revolutionary Ideas: ○​ Egalitarian seating eliminated class distinctions in the audience. ○​ Collaboration between actors and playwrights became a standard, honoring the playwright's vision.  ​ Company Growth: Expanded from 39 to 100 members, enabling international tours and broader influence. ​ Innovative Stage Design: Included advanced facilities like revolving stages for dynamic performances. Principles of the System 1.​ Ensemble Acting: ○​ Rejected the star system; actors alternated lead and supporting roles to promote humility and unity. 2.​ Rigorous Actor Training: ○​ Emphasized physical and emotional preparation. 3.​ Given Circumstances: ○​ Focused on understanding the character's reality at a specific moment. ○​ Example: The time of day, mood, and immediate events influence the character’s state of mind. 4.​ Objective: ○​ Every character must have a clear goal for each scene (scene objective) and throughout the story (super objective). 5.​ Obstacles and Tactics: ○​ Identifying barriers and the strategies to overcome them adds depth to performance. 6.​ Status and Power: ○​ Actors must be aware of the shifting power dynamics within scenes. 7.​ Motivation: ○​ Underlying reasons driving a character's actions add authenticity. 8.​ Sense Memory: ○​ Definition: A technique where actors recall personal experiences to recreate the emotions and physical sensations of the character's situation. ○​ Use: Helps actors connect deeply to their character’s emotions, enhancing realism in their performance. Legacy and Method Evolution ​ Writings: Documented evolving theories in journals and books, culminating in "The System." ​ Continuous Innovation: Ideas constantly evolved, revisiting and revising earlier concepts. ​ Principles for Acting: Focused on connecting deeply with characters and achieving genuine on-stage interactions. Cultural Impact ​ Global Influence: Inspired actors and directors worldwide through tours and training. ​ Challenges with Partners: Relationship with Nemirovich-Danchenko became strained as Stanislavski gained more fame. Method Acting Stereotypes ​ Critiques of method acting often focus on perceptions of selfishness and overindulgence. ​ Stanislavski’s true goal was to integrate characters and connect authentically with others on stage, moving beyond melodramatic poses. Stanislavski's Enduring Relevance Despite ongoing adaptations and interpretations of his methods, Stanislavski's foundational approach to realism in acting remains central to modern theater.