three sisters workpack -...

Three Sistersby Anton Chekhov

Further production details:www.nationaltheatre.org.uk

DirectorKatie Mitchell

Set DesignerVicki Mortimer

Lighting DesignerPaule Constable

MusicPaul Clark

ChoreographerKate Flatt

Sound DesignerGareth Fry

NT Education National TheatreSouth Bank London SE1 9PX

T 020 7452 3388F 020 7452 3380E education@

nationaltheatre.org.uk

Workpack written by Yvonne McDevitt, staffdirector on Three Sisters

Editor Dinah Wood

Design Alexis BaileyPatrick Eley

Three Sisters Workpack

Contents

The play 2

Interview 6

Katie Mitchell’s rehearsal process 8

For discussion 9

Practical exercises 10

Written work and research 11

Related materials 12

Education

SistersThreeThreeThree

national theatre education workpack 2

A BRIEF INTRODUCTION In Uncle Vanya and Ivanov Chekhov wasconcerned with the plight of the individual inhis struggle against the complacent group. In The Cherry Orchard and Three Sisterssomething new has happened: it is not theliberating individual against the complacentgroup, it is that the desire for liberation haspassed into the group as a whole.

For the three sisters, Olga, Masha, Irina, andfor all those characters who orbit around theProzorov household, there is a longing to makesense of life. There is a pressing need to havea sense of a future distinct from the stagnantand boring military-provincial society in whichthey live. Virtually everyone wants change;virtually no one believes it is possible. It is thesensibility of a generation which sits up allnight talking about the need for revolution, andis too tired next morning to do anything at all,even about its own immediate problems. Theyfantasize about returning to Moscow; they talkabout the need to work and yet they representa generation whose whole energy is consumedin the very process of becoming conscious ofits own inadequacy and impotence.

A synopsis of Katie Mitchell’s 2003 NationalTheatre productionACT 1: The play opens on Irina’s twentiethbirthday. Their father, Sergei Prozorov, died ayear ago to the day and Olga, the eldest sister,

feels a responsibility to host a celebration. Shehas invited Baron Tuzenbach (Irina’s suitor) andhis friend Solyony, both military men. Alsopresent are Masha, the middle sister, and DrChebutykin, the army doctor who knows thefamily from their Moscow days and has livedwith them since Sergei’s death.

Irina has had an epiphany that very morningand has decided that the key to life is work.She enthuses to Dr Chebutykin about herplans, but Olga wryly observes that althoughIrina used to rise at seven, she now lies in beduntil nine each day. Masha is depressed andannounces that she is going home. ChiefOfficer Protopopov has sent a vulgar cake,much to their hilarity. Baron Tuzenbach tellsthem to expect a visit from the army’s newBattery Commander, Colonel Vershinin. Theyare thrilled when they hear he is from Moscow,the city in which they were born and to whichthey hope to return in the autumn. WhenVershinin arrives, he says that he knew theirfather and regales them with memories ofMoscow. At first the sisters don’t rememberwho he is, but then Masha recollects talk of alove-sick major, a title to which Vershinin ownsup. Masha decides to stay for lunch after all.

Masha’s husband Kulygin gives his sister-in-law a book he has written on the history of thelocal school where he teaches. When Irinareminds him he gave her the same thing at herlast birthday, he gives the book to Vershinin.Realising he has intruded on a birthday party,he makes to go, but Olga and Irina insist thathe stay. Chebutykin, the alcoholic doctor,plans to indulge in a knees-up, but Mashawarns him not to touch a drop. The sisters aredesperate to impress the handsome Vershininand introduce him with great pride to theirbrother Andrey: he’s an academic in Moscowand speaks many foreign languages; he’s goodwith his hands and an accomplished musician.The only blot in his copybook is that he hastaken a fancy to a ‘local’ girl, Natasha, who thesisters consider to be beneath him.

Natasha arrives late for lunch, and Olgacriticises the colour of her belt. Two young

The play

The companyphoto Ivan Kyncl


military men Fedotik and Rode turn up, andFedotik takes a couple of photographs of thegroup. They toast first Irina and then Natasha,with the hope that she find herself a suitablehusband. (Masha has informed them earlierthat she is after Chief Officer Protopopov.)Andrey runs after her as she tries to leave andproposes marriage. They kiss and Fedotiksurreptitiously captures the moment oncamera.

ACT TWO: It is twenty-one months later.Natasha and Andrey are married with a babyson, Bobik. Andrey has given up his academiccareer to become a civil servant in the districtcouncil. His boss is Chief Officer Protopopov.There is a party planned for that evening whichNatasha hopes to cancel, but Andrey informsher that the visiting circus performance is aProzorov family tradition and any suchdecision would have to be made by his sisters,since they run the house. Natasha tells Andreythat Bobik is unwell, his room is damp andthey will have to put him on a special diet. Shewants to move Bobik into Irina’s room. She

has ordered her husband yoghurt for hissupper as the doctor has told her it’s the onlyway he will lose weight.

Ferapont comes in with council papers forAndrey to deal with, despite it being a bankholiday. Andrey is frustrated in both hismarriage and his work, and because he isafraid his sisters would laugh at him, shareshis unhappiness with the almost deafFerapont.

Masha and Vershinin find themselves alone inthe drawing room. They are deeply attractedbut are both (unhappily) married. Vershininmakes a pass at her. They are interrupted byIrina and Baron Tuzenbach. He has escortedher home from the telegraph office where sheis now working. The Baron is smothering Irinawith his affection. While they wait for tea,Vershinin is called away: his wife has tried topoison herself.

Tuzenbach and Solyony engage in a heart toheart. Solyony has been causing havoc byinsulting Natasha, by eating all the sweets andby making bizarre chicken impersonationswhenever Tuzenbach tries to speak.Tuzenbach has been in unrequited love withIrina for a couple of years. Solyony is also inlove with Irina and he tries to talk toTuzenbach about it, but instead argues withjust about everyone in the room and stormsout. It is approaching nine o’clock and thecircus performers are due to arrive. While theyare waiting, Irina and Andrey improvise ascene from Swan Lake. Their fun is interruptedby Natasha, who recruits Dr Chebutykin tobreak up the party. Her Bobik isn’t well. Out ofearshot, Masha calls Natasha a “small townbitch”. Everyone leaves except Irina, to whomSolyony declares his love. She is horrified. Themaid tells Natasha that Protopopov is waitingoutside to take her for a sleigh ride and,despite everything, Natasha prepares to go.Olga, Kulygin and Vershinin arrive, expectingthe party to be in full flow. Natasha dashes outto her assignation with Protopopov.

The play

Dominic Rowan and Lucy Whybrow

photo Ivan Kyncl


ACT THREE: A devastating fire has wiped outa whole street in the town, and its victims haveflocked to the Prozorov household where Olgais trying to organise clothing and shelter.Anfisa, the old nanny, begs Olga not to throwher out. She has been with the family for thirtyyears. Olga reassures her, but when Natashacomes in and finds Anfisa (a servant) sittingdown, she orders her to get out. Olga andNatasha embark on a full-blown argumentabout who runs the house. Natasha wants toget rid of Anfisa because she is eighty yearsold and useless. Masha, who has been restingon the bed, leaves the room in disgust. Kulyginenters in search of Masha and tells Olga that ifhe hadn’t married Masha he would havemarried her. The Doctor arrives, drunk andupset. He tells Olga that he has unwittinglykilled one of his patients.

Irina brings Tuzenbach and Vershinin into thebedroom to discuss a benefit concert for thefire victims. Unnoticed, Dr Chebutykin haspicked up a precious china clock whichbelonged to Mrs Prozorov and deliberatelysmashes it, much to Irina’s horror, beforeleaving. Eventually, Kulygin, Tuzenbach andIrina sleep giving Vershinin and Masha theopportunity to connect romantically via ahummed tune. Vershinin is about to touch herwhen Kulygin suddenly wakes up.

Fedotik enters and performs a mad dance. Hehas lost everything in the fire, all his equipmentand letters and photographs. Solyony arriveswith coffee and Irina orders him out of theroom. Solyony wonders why Baron Tuzenbachis allowed in and not him. Vershinin tells himthat they were all about to leave. Masha givesthem all bed linen to take downstairs. As theygo, Vershinin and Masha hum their tune.

Kulygin, Irina and Masha remain in thebedroom. Masha tells Irina that their brotherAndrey has mortgaged the house whichbelongs to all four of them. She believes thatNatasha has got her hands on the money.Kulygin is upset that Masha has brought it upin front of Irina. He says that everyone knowsthat Andrey owes money all around the town.Masha and Kulygin get into a blazing row. Irinais inconsolable.

Andrey demands to know why his sisters areso upset with him. He admits that he hasmortgaged the house and asks for theirforgiveness. Vershinin whistles from the gardenwhere he is waiting for Masha. Masha has toldher sisters that she and Vershinin are in love.Olga is disgusted. It has been a devastatingevening. Olga advises Irina to marry the Baron.Irina does not love him but agrees to marryhim if Olga promises that they can still go toMoscow, which she does.

ACT FOUR: Outside the Prozorov house.Irina’s bags are packed; she is leavingtomorrow to marry the Baron. They are movingto another town where the Baron has a job atthe steelworks and Irina will begin work as ateacher. They will begin a new life of work. TheArmy have been stationed elsewhere and areleaving. Masha is waiting in the garden forVershinin to say goodbye. Dr Chebutykinseems agitated; he has been recruited to beon hand for medical assistance at a duelbetween Solyony and Baron Tuzenbach.

Masha finds Chebutykin alone and asks him ifhe was really in love with their mother. He saysthat he was but can “no longer recall” if shewas with him. Andrey arrives pushing a pram.

The play

Ben Danielsphoto Ivan Kyncl


He can’t believe that everyone is leaving, evenChebutykin, and he’ll be left alone. He nowhas two children with Natasha, who is insidethe house with Protopopov tinkling on thepiano. Andrey asks for Chebutykin’s advice.He tells Andrey to get out and not look back.Andrey continues to be chased by Ferapontwith more council papers to be signed.

Tuzenbach tells Irina he has an errand to run,but Irina knows something happened last nightalthough Tuzenbach won’t tell her what. Heasks her to tell him she loves him and she tellshim she can’t and doesn’t. He asks her tomake coffee and goes off to the duel.

Vershinin arrives to say goodbye. Heapologizes to Olga for any damage he hascaused. When Masha arrives they kisspassionately. His departure leaves Mashadevastated. Kulygin tries to entertain them witha comedic false beard and moustache,confiscated from one of his third form boys.Natasha arrives with champagne. She willfinally have the house to herself. She isangered to find a fork on the bench andstorms off to find out who left it there.

Chebutykin arrives back and tells Olga thatTuzenach has been killed in a duel. Olgabreaks the news to Irina. She faints. Her sisterstry to console her.

The play

Anna Maxwell Martinphoto Ivan Kyncl


Angus Wright discusses playing Kulygin inThree Sisters

Why does Kulygin put up with his wife’sinfidelity?

The simple answer is that he loves her. Hismantra of praise for Masha (wonderful andmarvellous are the words he uses most often),shows that he loves her but is terrified oflosing her. He sees other men as a threatbecause he knows how lucky he is to havemarried such an intelligent and attractivewoman, and he knows that his provincial lifedoesn’t quite offer everything she might wantor need.

In Act Three, Chekhov shows us the night thatKulygin discovers Masha’s infidelity and thenthree or four months later, in Act Four, heshows us the final hour before the departure ofthe army. What Kulygin appears to havelearned in those intervening months isstoicism, an acceptance of whatever lifethrows at you, an understanding that “it’s all in

the lap of fate”. He resolves simply to wait forVershinin to leave and then show Masha thathe is there for her, that he will not reproach her,that he will never mention it again, not even ahint. It is the action of a remarkably strong anddecent man. When the moment of Masha’sdeepest anguish arrives, Kulygin, the stuffy,Latin-spouting schoolteacher from Act Oneturns out to be the perfect, supportivehusband. And it’s important to remember thatMasha could just walk out on her husband butshe doesn’t. There is hope for them as acouple.

Describe Katie Mitchell’s rehearsal process.

Immersion in the very specific world of theplay typified the work we did on Anski’s TheDybbuk (RSC 1992). Inhabiting the world ofnineteenth-century Hassidic Jews in a stetl inthe Ukraine required a certain amount ofgroundwork for a bunch of British twentieth-century actors, Jewish and non-Jewish.Chanting in Hebrew and singing in Yiddish,praying, dancing, blowing a ram’s horntrumpet, imitating bird calls and observing therituals of demonic exorcism require work andKatie Mitchell’s remarkable rehearsal processprovides a cast of actors with everything theyneed. Her great skill is to present work thatrecreates the reality of a particular time andplace whilst also mining for the truth ofindividual emotional responses to that world.She ensures that the whole cast has a sharedframe of reference and everyone inhabits thesame world.

The Three Sisters rehearsal process was verydifferent. We did do research into the world oflate-nineteenth-century Russia which washelpful, but my strongest memory, certainly ofthe first three weeks of rehearsals, is of almostconstant improvisation. It’s a tough disciplineand most actors have an instant gut-tighteningresponse to the very mention of the word, butwhat it revealed about the play wasextraordinary. We improvised scenes andevents from the characters’ pasts, going as farback as the birth of Irina (attended by Dr.Chebutykin), and charting different points in

Interview

Eve Bestphoto Ivan Kyncl


the three sisters’ and Andrey’s upbringing inMoscow. There were improvisations about thetormenting of Tuzenbach at military academyfor his German name, Vershinin’s wifeattempting suicide, the Prozorov’s leavingMoscow for the provinces, Kulygin’s proposalto Masha, the parties and dancing in the houseduring General Prozorov’s time and, a yearbefore the play begins, his death. When weeventually came to work through the start ofAct One it felt much less like the beginning ofthe characters’ lives and more a continuationof a life about which one already had a fairamount of information. We also improvisedevents from our own lives, personalexperiences that related to the major themesof the play. All this work, combined withwaltzing, the odd moment of military drillingand movement and voice sessions feeds intothe work on the text itself.

Katie Mitchell has been less reverent thanmany directors are with Chekhov and hasworked to find the parallels betweenChekhov’s time and ours. If many of us nowhave no concept of who Lermontov is and whySolyony compares himself to the poet, thenchange it to Byron so the reference has asimilar effect on the listener as a reference toLermontov would have done in Moscow in1901.

In conclusion, Katie Mitchell’s rehearsalprocess brings out the very best in actors: sheis determined to get you to tell the truth, andnothing but the truth.

Why do you think Three Sisters was such aradical play in its day? Is it still radical?

The play was radical in its day for showing lifeas it is lived, in all its seemingly banal andhumdrum detail, and from out of that banalityrevealing great truths about the humancondition. Contemporary Russians began totalk about “calling in on the Prozorovs” whenthey went to see Three Sisters. Chekhov’sbreak from tradition was a break frommelodrama, in which the good end happily andthe bad unhappily. Instead he crafted a worldthat did not allow for easy sentimentalresponses, where, as in life, no one has theanswers. This unsettling quality is what makesit a radical play today. The depth of detail andcharacterisation allows for as many reactionsto the play as there are audience members. Itstrikes us on a very personal and intimatelevel. There is still much debate about whetherthis or that Chekhov play was meant to be acomedy or drama, but the truth is that hisplays are so brilliant they defy labels.

Interview

Eve Bestphoto Ivan Kyncl


A BRIEF INTRODUCTIONDirector Katie Mitchell was allotted a largeroom at the National and given eight weeks inwhich to rehearse for Three Sisters. The daywould usually begin at 10:30am with a physicalwarm up led by Kate Flatt, the MovementDirector or individually by each actor. Severaltimes a week this would include a thoroughvocal warm-up led by Voice Coach, KateGodfrey. It is a vital beginning to the veryintense method of rehearsals that is a hallmarkof Katie Mitchell’s work.

THE FIRST TWO WEEKSThe first two weeks focused on two keyaspects. Firstly, the text. And secondly onimprovisation. The whole company sat arounda huge table and under Katie’s inspiredguidance, analysed the text, line by line. Thetext is the bible of the production. Everydecision an actor makes about his characterand motivation must have its foundation there.If an actor says, ‘I think my character is reallyangry here’, Katie would ask for proof from thetext. How do you know he is angry? Whatevidence do you have?

Back history is everything that the charactershave been through before the action of theplay begins. Katie used constant improvisationto help the actors construct the panoply ofrelationships and events that shaped thecharacters lives. This work was extraordinary

in its intensity, imagination and mostimportantly for the results it yielded. Thecompany of actors were totally united in theworld of the play. Katie Mitchell’s work is aboutcreating the conditions for great acting tohappen. And she really puts her actors throughtheir creative paces.

WEEKS THREE, FOUR and FIVE.Armed with a rigorous understanding of thetext and back history, Katie led the actors toexplore the physical work of the play. Therehearsal room was turned into the actualProzorov House. The layout of the house wasmarked up on the floor, even though on thestage we only ever get to see one or tworooms in each act. If a character comes fromtheir bedroom before making an entrance intothe drawing room, they were able to explorethat journey for real in the rehearsal room. Thishelped the actors to inhabit their characters’physical, emotional and psychologicallandscape. Weeks three, four and five wereabout exploration, discovery and invention.

WEEKS SIX, SEVEN and EIGHTThese weeks were about harnessing the ideasthat worked, abandoning ideas that wereobsolete, and practising the play’s sequence ofevents. For this purpose Katie broke down theplay into units. Each unit is a passage of textleading up to an event and its aftermath. Forexample, in Act One Kulygin’s entrance marksthe beginning of a unit. Irina telling him that hegave her the same present last year would bethe event. Kulygin’s speech about the Sabbathwould be the aftermath (his attempt torecover!) which would bring that unit to an end.Each unit was given a name and a structureand this is how Katie and the actors rehearsedsections of the play. Towards the end of thisperiod, all these units were pieced togetherand the action of the play in its entirety beganto emerge. Katie then began running wholeActs. And finally the company ran the wholeplay.

Katie Mitchell’s rehearsal process

Katie Mitchellphoto Ivan Kyncl


1. CHARACTERChekhov introduces us to a panoply ofcharacters. Olga is an overworked spinsterwho would love to be married. Chebutykin is alonely alcoholic; unlovable and with no love togive. Tuzenbach is in love with a woman whodoesn’t love him. Solyony is in love with thesame girl. Andrey has messed up hisacademic career and is unhappily married.

What is each of the characters dealing with?Which character do you most relate to andwhy? What would you advise these charactersto do in order to get what they want from life?

2. THEMES

a) THE PASSAGE OF TIME.Chekhov sets the story of Three Sisters overthree and a half years. Why do you think hedoes this? How else does he explore the ideaof time passing in the play? What symbolsdoes he use to represent time in motion?

b) THWARTED DESIRESTuzenbach is in love with Irina who does notreciprocate his affections. How is each of theother characters thwarted?

c) DEATH AND ILLNESSAt the beginning of the play we are told thatSergei Prozorov died exactly a year ago to theday. The play closes with the death ofTuzenbach in a duel with Solyony. Sandwichedbetween these two deaths is a host of otherinstances in which Chekhov explores thethemes of death and illness. It is interesting tonote that Chekhov wrote this play a yearbefore he died. How do you think that mighthave affected what he was writing about inThree Sisters? If you knew you had one year tolive, what would you write about?

d) FAMILYEven in the best of families there aredisagreements. What state is the Prozorovfamily in? Is Andrey more sinned against thansinning? Why does Masha have an affair withVershinin? What type of man is Kulygin? Howhas the family been affected by the death oftheir parents?

For discussion



1. IMPROVISATION

a) WHAT HAPPENED NEXT?Improvise what happens to each character atthe end of the play. Decide who is going toplay whom and then literally pick up whereChekhov leaves off at the end of ACT FOUR.What happens next?

b) ON THE COUCHAssign each character a psychotherapist whowill listen to their problems; try to advise themwhat to do.

c) THE SISTERSImprovise a scene in which Masha asks hersisters’ advice: should she stay with Kulygin orleave him for Vershinin?

d) ANDREYSet up a scene where Andrey confronts hiswife, Natasha, about her affair withProtopopov.

e) SOLYONYSolyony was about to tell Tuzenbach about hisfeelings for Irina in ACT TWO, but in the endhe decides against it. Create a scenario whereSolyony confronts Tuzenbach about hisfeelings for Irina.

Practical exercises

Eve Best and Anna Maxwell Martin

photo Ivan Kyncl


1. REVOLUTIONThree Sisters spans the years from 1897–1900.The play includes a lot of talk about the needto work. Indeed the ideas of Marx were takinghold in Russian society at the time. Researchthe years 1900–1917, the year of the revolutionand trace how Marx’s ideas influenced thetransformation of Russian society.

2. STANISLAVSKIKonstantin Stanislavski, the famous Russianactor and director who directed most ofChekhov’s plays, had a major impact on howtheatre was produced. Research theinnovations he made to the art of theatre, inparticular his impact on the art of acting.

Written work and research

Lorraine Ashbournephoto Ivan Kyncl


The Russian Century by Brian Moynahan(Seven Dials, 2000)

Natasha’s Dance by Orlando Figes(Pimlico, 2003)

Stanislavski For Beginners by David Allen(Writers and Readers, 1999)

Stanislavski: My Life In Art by Jean Benedetti(Methuen, 1999)

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