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Anton Chekhov: the Characterization and Interpretation of a Historical Figure for the Stage

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University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2006 Anton Chekhov:the Characterization And Interpretationof A Historical Figure For The Stage Alan Gallant University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Gallant, Alan, "Anton Chekhov:the Characterization And Interpretationof A Historical Figure For The Stage" (2006). Electronic Theses and Dissertations, 2004-2019. 774. https://stars.library.ucf.edu/etd/774 ANTON CHEKHOV: THE CHARACTERIZATION AND INTERPRETATION OF A HISTORICAL FIGURE FOR THE STAGE by ALAN J GALLANT B.A. University of Maine, 2002 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2006 © 2006 Alan J Gallant ii ABSTRACT This thesis will explore the execution of the monograph role of “Anton Chekhov” in the original one-act play, An Evening with Anton Chekhov. The play script, rehearsal and public performances of the piece are all self- generated by the candidate, with the proper assistance of the thesis committee. This written thesis serves as the completion of the thesis project, and includes analysis of several key areas of the development of the script and thesis role. This document includes the original script with endnotes and a structural analysis. Social and historical background of the character, Anton Chekhov, a real person, is presented. This background includes the history as it pertains to Anton Chekhov and the national mindset in pre- revolutionary Russia. This background is integral in not only the development of the character, but also of the script which supports the character. Much of what is contained in the script is from correspondences, anecdotes, and written material from and about Anton Chekhov. These materials will be used as interpretive tools in the development of the character, and includes clues to physical appearance and personality. The character analysis contained herein is, in part, a reflection of these historical and environmental concerns. In addition, external and internal portrayal and the means used to achieve them are discussed. These means include physical and vocal techniques for the stage in conjunction with the use of emotional recall, behaving “as if,” and being emotionally and energetically present for the acting partner. Since this is a “one man show,” the acting partner will take the form of the audience as other or confidante. This phenomenon, and its effect on the performance, is included in the written iii thesis. The acting approach in execution of the monograph will also be reflected in a journal, which will contain a record of the successes, challenges, choices and adjustments made in the rehearsal/performance process. Included among these will be the various adjustments made in order to achieve a higher level of spontaneity in movement and transition, and how this semi- improvisational approach aided in adjusting to each unique audience in performance. Analysis will be provided by members of the committee. Dr. Julia Listengarten and Mark Brotherton will submit performance analysis, while the committee chair, Dr. Donald Seay will also provide rehearsal reports. Script work on An Evening with Anton Chekhov will begin in October of 2005, with rehearsals commencing on February 6, 2006. Two performances will be given at the Black Box theatre on the campus of UCF on Monday, February 27, and Tuesday February 28, 2006. iv ACKNOWLEDGMENTS The author would like to acknowledge the invaluable assistance of the faculty and staff of the UCF MFA program, with special emphasis on those he has had the pleasure of studying with: Dr. Julia Listengarten, Kate Ingram, Christopher Niess, Mark Brotherton, John Wayne Schafer, Be Boyd, Lani Harris, Tad Ingram, Jim Brown and Dr. Donald Seay. Without your careful, caring instruction, none of this would have been possible. Finally, he would like to thank the classmates who helped see him through and whose friendship he continues to value: David Knoell, Brooke Harrison and Niki Klass. Thank you all for sharing the journey. v TABLE OF CONTENTS CHAPTER ONE: INTRODUCTION............................................................................................. 1 CHAPTER TWO: SCRIPT............................................................................................................. 6 CHAPTER THREE: RESEARCH AND ANALYSIS................................................................. 29 History....................................................................................................................................... 29 National:................................................................................................................................ 29 Political and Cultural Climate:.............................................................................................. 31 Caste Society and Rural Life: ............................................................................................... 33 Traditional Russian Mindset:................................................................................................ 34 Cosmopolitan Attitudes: ....................................................................................................... 35 The Script.................................................................................................................................. 37 Dramatic Structure.................................................................................................................... 58 Character Analysis.................................................................................................................... 60 Early Life: ............................................................................................................................. 61 Medical School and the Beginnings of a Writing Career: .................................................... 63 Medicine, Health and Recognition: ...................................................................................... 64 Failures, Success:.................................................................................................................. 65 Sorrow and Sakhalin:............................................................................................................ 66 Gentrification and the Theatre: ............................................................................................. 68 Tuberculosis, Creativity and the Moscow Art Theatre:........................................................ 70 The Exile Begins:.................................................................................................................. 71 Olga and the Last Plays: ....................................................................................................... 73 vi Summary:.............................................................................................................................. 76 Physical Characteristics and Applications................................................................................ 77 Physical Approach to the Character:..................................................................................... 78 Blocking:............................................................................................................................... 82 Vocal Approach: ................................................................................................................... 84 Dialect:.................................................................................................................................. 87 The Audience as Other.............................................................................................................. 89 CHAPTER FOUR: REHEARSAL / PERFORMANCE JOURNAL ........................................... 94 CHAPTER FIVE: COMMITTEE REPORTS............................................................................ 135 Dr. Donald Seay, Committee Chair ........................................................................................ 135 Dr. Julia Listengarten.............................................................................................................. 138 Prof. Mark Brotherton............................................................................................................. 139 CHAPTER SIX: CONCLUSION............................................................................................... 141 LIST OF REFERENCES............................................................................................................ 146 ENDNOTES ............................................................................................................................... 148 vii CHAPTER ONE: INTRODUCTION Anton Pavlovich Chekhov was born in the southern port town of Taganrog, in Russia. He was of peasant stock. The year of his birth, 1860, coincided with the abolition of serfdom, in Russia. Chekhov was born in the latter era of the Tsars, where
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