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A Director's Approach to Anton Chekhov's the Seagull by Rebecca

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A Director's Approach to Anton Chekhov's the Seagull by Rebecca ABSTRACT A Director‘s Approach to Anton Chekhov‘s The Seagull Rebecca Susan Johnson, M.F.A. Thesis Chairperson: David J. Jortner, Ph.D. This thesis examines the production process of the 2010 Baylor University Theatre production of Anton Chekhov‘s The Seagull from the perspective of the director. This production highlighted the themes of art, love, and longing for fulfillment within the play. The study is broken into five chapters providing an overview of the production process. Chapter one provides a biographical overview of Chekhov‘s life, a brief production history of The Seagull, and a literary review of critical material about the play. Chapter two contains a detailed analysis of The Seagull, examining the given circumstances, structure, themes, and characters of the play. Chapter three follows the conceptual and design process of the production. Chapter four details the rehearsal process of The Seagull, focusing on the director‘s work with actors. Finally, chapter five provides a critical reflection of the final production and an analytical discussion of the director‘s work throughout the process. A Director‘s Approach to Anton Chekhov‘s The Seagull by Rebecca Susan Johnson, B.F.A. A Thesis Approved by the Department of Theatre Arts ___________________________________ Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee ___________________________________ David J. Jortner, Ph.D., Chairperson ___________________________________ DeAnna M. Toten Beard, M.F.A., Ph.D. ___________________________________ Marion D. Castleberry, Ph.D. ___________________________________ Stan C. Denman, Ph.D. ___________________________________ Michael B. Long, Ph.D. ___________________________________ Steven C. Pounders, M.F.A. Accepted by the Graduate School August 2010 ___________________________________ J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2010 Rebecca Susan Johnson All rights reserved TABLE OF CONTENTS List of Figures ................................................................................................................ vi Acknowledgments........................................................................................................ vii Chapter 1: The Playwright and the Play ......................................................................... 1 History and Biographical Analysis ................................................................................. 2 Illness and Depression ........................................................................................ 7 Medicine ........................................................................................................... 11 Love and Heartache .......................................................................................... 12 Art and Writing ................................................................................................. 16 Production History ........................................................................................................ 25 Historically and Conceptually Important Productions ...................................... 25 Literature Review.......................................................................................................... 35 History of Chekhov Productions ....................................................................... 36 Historical Context ............................................................................................. 40 Critical Analysis................................................................................................ 42 Art and Literature .............................................................................................. 46 Conclusion .................................................................................................................... 52 Chapter Two: Playscript Analysis ................................................................................ 54 Plot Summary................................................................................................................ 54 Given Circumstances .................................................................................................... 60 Geographical Location ...................................................................................... 61 Social and Political Environment...................................................................... 63 Economic Environment .................................................................................... 66 Structure ........................................................................................................................ 67 Themes .......................................................................................................................... 71 Art and Literature .............................................................................................. 72 Love .................................................................................................................. 77 Thematic Synthesis of Art and Love ................................................................ 80 Character Analysis ........................................................................................................ 81 Konstantin ......................................................................................................... 82 Nina ................................................................................................................... 86 Arkadina ............................................................................................................ 90 Trigorin ............................................................................................................. 92 Dorn .................................................................................................................. 94 Masha and Medvedenko ................................................................................... 96 Sorin .................................................................................................................. 98 Shamrayev and Polina....................................................................................... 99 Conclusion ...................................................................................................... 100 iii Chapter Three: Production and Design Choices ......................................................... 101 Director‘s Conceptual Ideas ............................................................................ 101 Set Design ........................................................................................... 105 Costume Design .................................................................................. 107 Lighting Design .................................................................................. 109 Sound Design ...................................................................................... 110 Design Collaboration ...................................................................................... 111 Conceptual Ideas ............................................................................................. 111 Set Design ........................................................................................... 112 Costume Design .................................................................................. 118 Lighting Design .................................................................................. 123 Sound Design ...................................................................................... 127 Conclusion ...................................................................................................... 130 Chapter Four: The Rehearsal Process ......................................................................... 131 Auditions and Casting ..................................................................................... 131 General Auditions ........................................................................................... 136 Callback Auditions.......................................................................................... 137 First Rehearsal ................................................................................................ 143 Character Analysis and Improvisation ............................................................ 146 Staging Rehearsals .......................................................................................... 153 Scene Work and Run Throughs ...................................................................... 162 Technical Rehearsals ...................................................................................... 165 Lighting ............................................................................................... 166 Sound .................................................................................................. 167 Costumes ............................................................................................. 168 Cue to Cue........................................................................................... 170 Final Technical Rehearsals ................................................................. 171 Dress Rehearsals ................................................................................. 172 Conclusion .....................................................................................................
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