USQ Naturalism Now The Seagull By Anton Chekhov Teacher’s Notes Table of Contents Synopsis P 3 Main Character P 4 Themes P 5 Symbols P 6 P 6 P 7 Activities to explore text and Realism P 8 Additional Resources P 14 References P 14 Anton Chekhov Realism vs. Naturalism Prepared by CTD Copywriting 2 Synopsis Set in summertime Russia in late 19th Century, the play begins at the estate of Peter Sorin where people have gathered for his nephew Konstantin Treplev to debut his new play. Masha, the daughter of the estate manager grieves for her depressed life. She is pursed by Medvedenko, the poor school teacher whom she is unable to love back as she is in love the Konstantin. Konstantin is desperate for his play to do well and to impress his mother, famous Russian actress Irina Arkadina, with whom he has a tense and unloving relationship. While preparing his production he tells Nina, his lead actress, that he loves her but she does not return his affection. Konstantin’s play is abstract and symbolic and is a move away from the melodramas that have made his mother famous. He wants to show that theatre can reflect the inner struggle of the human condition. The performance is interrupted several times by the comments of a displeased Irina to the point that Konstantin ends the play abruptly and runs off. Eventually Dr Dorn tells him that he admires his work that Konstantin should continue writing. After the production, Nina meets Irina and her partner Trigorin, who is a famous author. Desperate for fame herself, Nina is surprised how normally they both act given their fame. Konstantin then enters with a seagull that he has just killed for her and lays it at Nina’s feet. She accuses him of talking in symbols and they argue. Konstantin is convinced that Nina does not love him as his play failed. He leaves when he witnesses the growing adoration and affection between Nina and Trigorin. Trigorin tells Nina that he has been inspired by the seagull to write a story about a woman who has been ruined by a man just like the seagull. Later Masha tells Trigorin that she is going to marry Madvedenko, not because she loves him but because it is convenient and because she is unable to marry the man she actually loves, Konstantin. As Nina leaves, she gives Trigorin a gift that makes her feeling toward him clear. Sorin then falls ill and Irina his sister screams for help. Irina and Nina share a conversation that beings nicely but eventually becomes full of competitive insults. Konstantin ends up crying over the fact that Nina does not love him. Trigorin tries to convince Irina to stay on the estate but Irina, believing she is about to lose him to Nina, convinces him to leave for Moscow with her. Before he leaves, Trigorin tells Nina to meet him Moscow. Two years later as Medvedenko and Masha are discussing Sorin’s request to see Konstantin in his declining health, it is revealed how bored Masha is with her life. She tells her mother they are moving away as Medvedenko has got a new position, and she hopes that distance will put an end to the hopes she had for a different life with Konstantin. Back on the estate Konstantin, now a more successful and publish author, tells how he has been following Nina’s career in Moscow. He reveals that she and Trigorin had an affair, she became pregnant but the baby died which lead to Trigorin losing interest in her. Trigorin and Irina are back at the estate and Irina reveals she has not read any of Konstantin’s work. Nina also returns and is shunned by her family. At a dinner hosted by Irina, she asks Konstantin to stop writing. When Nina once again refuses Konstantin’s affections as she is still in love with Trigorin and wants to continue acting, Konstantin takes his life. Unlike melodramas, The Seagull’s main events happen off stage and in between acts, such as the shooting of the seagull. The dramatic action comes from the characters reacting to the events, disappointments and adversities amongst their banal day to day to day existence. Prepared by CTD Copywriting 3 Main Characters Konstantin Tréplev Konstantin is a young writer desperate to succeed but tortured by his own misery. His mother, Irina, a famous actress, is the source of much of his misery. Irina is famous for melodramas, a form that Konstantin detests. He is desperate to break away form his mother’s shadow and prove that playwriting is a tool with which to observe human nature. The play begins with Konstantin debuting his play to family and friends. The performance is a disaster fuelled by his own anxiety and his mother’s irritation. Adding to Konstantin’s fragile state is his unrequited love for Nina, the lead actress in his play. Nina becomes enamoured with Trigorian and refuses Konstantin’s affections. In response he kills a seagull and lays it at her feet as symbol of his feelings. Years after his failed production, Konstantin has had success and is now a published writer. Despite his success he still pines for Nina. Nina, having suffered heartbreak at the hands of Trigorin, still refuses Konstantin’s affections. It is this final rebuff that see Konstantin take his own life. Irina Arkadina Irina is a famous Russian, melodramatic actress. In her middle age, she is desperately trying to hold onto her talent and looks. She is Konstantin’s mother, Sorin’s sister and Trigorin’s lover. She mocks her son’s writing and towards the end of the play when he is a published author, she admits that she has not bothered to read any of his work. Irina is a self-­‐centred, jealous and unsympathetic character who flaunts her success and wealth but is unwilling to support others, including her son. She values her beauty and compares herself to much younger characters attempting to ensure no one can outshine her. Despite her confidence, she begs Trigorin to stay when he asks to leave the relationship. There are only a few moments when Irina shows glimpses of compassion. Nina Nina is Konstantin’s neighbour and is keenly wants to become an actress and bask in the fame like those she is infatuated with, such as Irina and Trigorin. She stars in Konstantin’s play but refuses his romantic advances. Rather she is swept off her feet by Trigorin and follows him to Moscow. While in Moscow, her love affair sours after she becomes pregnant and loses the child. Nina’s career also fails to flourish. Upon returning home, her father and stepmother lock her out and she begins to call her self ‘The Seagull’ after the innocent bird that Konstantin shot. Once again Konstantin declares his love for her but again she refuses him as she is determined to return to Trigorin and the stage. Boris Trigorin Trigorin is famous Russian writer and is Irina’s lover. He is obsessed with observation, constantly making notes on his observations for his future writings. After Konstantin’s play, Trigorin is tempted by Nina and eventually begins an affair with her in Moscow. He tires of her after her pregnancy and when he returns towards the end of the play he is obsessed with his own writing and publications. Masha Masha the daughter of Shamrayev who manages Sorin’s farm. She drinks heavily and takes snuff in an attempt to ease the disappointment and depression she feels for her life. Masha loves Konstantin but he refuses her love. The school teacher, Medvedenko pursues her and reluctantly she agrees to marry him and has a child. Masha only displays boredom toward her role of wife and mother until she ultimately gives into the disappointment of her life and moves away with her family with the hope of forgetting the life she wanted. Petr Sorin Petr is the frail brother of Irina, uncle of Konstantin and owner of the property where the play takes place. In his ailing health, Sorin regrets not having found love or been a successful writer. He also feels trapped by Prepared by CTD Copywriting 4 his life in the country and doctors have little remedy for his growing illness. By the end of the play he has become very ill and it clear he is not far from death. Dr Dorn Dr Dorn is a friend to Irina and Sorin and is the local doctor. Shamrayev’s wife, Polina, pursues him and he his indifferent to her advances. He offers an outsider’s perspective and commentary to the audience. Semyon Medvedenko Medvedenko is the poor local school teacher. He is quite dull and spends his time complaining about his poverty. He loves Masha who eventually agrees to marry him out of convenience rather than love. He stays in the marriage even though Masha is quite cruel. Ilya Shamrayev Is the estate manager, father to Masha and husband to Polina. He runs the property as if it is his and contradicts Sorin’s authority. He is an inattentive husband and spends his time reminiscing with Irina about the theatre. Polina Andryevna Polina is the mother of Masha and wife of Shamrayev. Unhappy in her marriage she pursues Dorn. She sees her own unhappiness reflected in the marriage of Masha and Medvedenko. Themes True to the style of Realism, themes are the driving force of Chekhov’s work. It is from these themes that he then develops characters. Unrequited Love Unrequited love features heavily throughout the play and is binds the characters together. Just about every character loves another who does not love them back. For many of the character their unrequited love defines them and is the basis of their decision-­‐making and for Konstantin it is the reason for his demise. Everyday life Chekhov emphasises the mundane routine occurrences of life in life such as eating dinner, asking for water and playing cards throughout the play and goes to show that life altering events happen amongst the everyday moments. Existential crisis Many of the characters question the purpose and value of life. Masha sets the tone of the play from the beginning as she mourns her life like one mourns a death. She drinks and takes snuff to escape from the disappointment of life. Sorin also laments the missed opportunities of his life now that he is ill and aging. At some point al the characters question or search for the meaning in their lives. Artist in Love Chekhov presents Konstantin, Irina, Nina and Trigorin as different version of artists in love. All four of the characters pursue art to boost their ego with the hope of being admired and respected and in their pursuit, the art alters their actions and personality. Irina romanticises acting above all else, allow her to use it as an excuse for her vanity. Nina on the other hand sees acting as a noble cause. Konstantin’s pursuit of perfection and need for respect, particularly from his mother, was paralysing. While Trigorin spends his time obsessively taking notes on people and events around him, hoping that is next story will give him the satisfaction he deeply craves. Their dedication to their craft then interrupts how they perceive or pursue love in their lives. For example, Trigorin wishes to leave Irina to be with Nina in the hope the relationship Prepared by CTD Copywriting 5 will bring him the satisfaction he desires. Chekhov is not offering an opinion about the artist in love but presents them so that the audience may identify themselves or others in the characters. Symbols The seagull The seagull is a changing symbol throughout the play. It goes from representing freedom and security as Nina uses the seagull to explain how she was drawn to the lake as a young child. Later in the play, the seagull becomes a symbol of the emotional and artistic needs of Konstantin and Trigoran. Konstantin kills a seagull and lays it Nina’s feet as a symbol of her rejection of him. He even goes so far to say that he will do the same to himself. Trigoran see the seagull as the way that men can destroy women. At a point, Nina also refers to herself as the seagull, as an innocent victim. The seagull goes from a symbol of freedom to one of destruction at the hands of one a loved one. The Lake The lake is mentioned throughout the play as a symbol of escape and freedom. It also represents Konstantin’s desire to create more naturalistic theatre. Anton Chekhov Anton Chekhov was born in January 1860 in Taganrog Russia. His father was a grocer who often suffered from money troubles. His family fled to Moscow in 1875 and once Chekhov finished his school he joined the family in 1879. Once in Moscow, he applied for medical school while supporting his family with his freelance writing of humorous stories. By the mid 1880s, Chekhov was working as a physician and publishing fictional works. By the 1890s, he had mastered his signature style of writing. Chekhov’s plays were character based with often little action occurring but rather the inner conflicts of his desperate characters were the focus. Generally set in pre-­‐ revolution Russia, his plays are timeless as they deal with the human condition and the psychology of his characters. In 1898, the Moscow Art Theatre, with Konstantin Stanislavski, staged a highly successful production of The Seagull. This production helped being the theatre fame and started a long collaboration between the theatre and Chekhov. Prepared by CTD Copywriting 6 Realism vs. Naturalism Realism and Naturalism developed in a similar time period in the mid 19th Century in reaction to the spectacle filled melodramas that were popular at the time. While they developed almost simultaneously and are quite similar, Realism and Naturalism are two distinct theatre forms. With society’s growing interest in psychology and science through the work of people such as Freud and Darwin, theatre needed to explore the human condition on stage. Realism: • Characters are ordinary, believable, working and middle class people who are identifiable to the audience • Costumes authentically reflect the setting of the play • Settings are generally indoors are designed to look real-­‐ the one setting would be used for the entire play • The box set was introduced to create three walls and then between the action on stage and the audience, the imaginary ‘fourth wall’ was created, giving the audience the sense that they were looking into someone’s life. • Setting were generally everyday settings and language reflected regular speech • Plays were focused on the human condition and exploring the psychology (inner thoughts, motives, reactions etc.) of the characters • Realism plays often see the main character rise up against some kind of injustice to prove themselves • Henrik Ibsen is considered the father of Realism. • Stanislavski developed a system of realistic acting that provides a process for actors to become the character through developing the background and inner thoughts of the character by applying their own experience, emotion and imagination to the character. • America’s method acting was triggered by Stanislavski’s system of realistic acting. • The Well-­‐Made Play structure was embraced by Realism playwrights o http://teatroluna.org/wp-­‐content/uploads/2012/04/Well-­‐Made-­‐Play-­‐1.pdf o http://www.britannica.com/EBchecked/topic/639300/well-­‐made-­‐play Naturalism: • Naturalism is an extremely heightened form of Realism • Stage time equals real time-­‐ if the play was three hours long then the action covered three hours of the characters’ lives and occurs in one location. • There was an attempt to create ‘a slice of life’ on stage through very careful detail in the costumes, props and setting • Characters in the play are shaped by their circumstances and controlled by external forces such as hereditary or their social and economic environment • Characters are often working class and are seen as victims to their circumstances • Plays will deal with often taboo and sordid subjects Prepared by CTD Copywriting 7 Activities to Explore Text and Realism Preparing the Actor: Relaxation: • Lying on their backs on the floor, students need to have arms and legs out straight and eyes need to be closed. • Tell students that you are going to guide students through the activity. • Have them focus on their breathing, in through their nose, out through their mouth. • Starting down at their right foot they are tense and relax muscles, then move up to their right calf, right thigh-­‐ continuing until every part of the body, including the face has been tensed and relaxed. • Have students tense their entire body and then relax and to then ensure that any tension has left their body and they feel so relaxed that they feel they are sinking into the floor. • Allow them to lie there just focussing on their breathing for a little while. • Slowly being the students to be present in the room and have them sit and then stand up. Limbs be Burning: • This exercise was inspired by La Fura Dels Baus Collaborator Younes Bachir. • Everybody stands in a circle, focus placed in the centre. • Knees slightly bent, body centred. • When everyone is ready the energy will shift inwards on a clap. • Rub the hands together to generate energy • Using the left hand first – transfer that energy into the right arm by rubbing it at a fast pace [waking up all the cells in that limb.] • Everybody comes to a stop. Focus returned to the centre of the circle • Again when everyone is ready, bring energy inwards on a clap, and rub the hands together. • This time transferring the energy through the left hand by rubbing the right arm. • Repeat this process of focus, clap, rub hands together, and rub the different limbs of the entire body [each leg, bellies, back, face, head]. • At the commencement of this exercise the entire body will feel warm and surging with energy. http://workingwithshakespeare.com/portfolio-­‐view/limbs-­‐be-­‐burning/ Using Stanislavski Stanislavski and Chekhov collaborated for many years, influencing each other’s work. The Stanislavski System focuses on character development to the point where the actor becomes the character and creates a ‘real’ performance rather than presenting a character on stage. The process aims to expand the actor’s imagination while bringing the their experiences to the role to enhance the character. To make a character real, Stanislavski believed that the character had to be approached from the inside. Using the text as a guide, the actor needs to create the inner working of their character: their memories, back story, motives, emotions, reactions, values and beliefs. When discussing the character they need to speak in first person as the character. There are two sections of the script have been provided at the end that students can use to explore the techniques. Please note that the names in the script differ from what have been used throughout. Medviedenko-­‐ Medvedenko Treplieff-­‐ Konstantin Treplev Elements of the Process Given Circumstances The script provides the bounds of the character. To access these details, the actor needs to focus on the geographical, historical and social elements of the play. Prepared by CTD Copywriting 8 With the script the students need to understand what the script tells them about their the character, the actor must ask themselves questions such as: • Where am I? • What is my specific location? • What year is it? • What relationships do I have? • What has happened before the play begins? Super Objective The Super Objective is the main theme of the play. Everything in the play works towards the Super Objective. As a class discuss the Super Objective of The Seagull. Objective The Objective is the goal of your character in each scene or section of the play. The goal for your character is what they would like to see happen or what they want. Your character might not actually achieve their objective but it provides the focus for the actor to aim to complete despite the obstacles they face. For the section of the script the students have, have them identify their characters objectives. This handout can be used: https://www.theatrefolk.com/spotlights/22/download Magic If The Magic If process asks the actor to bring their experience to the character. In situations that the character finds themselves in, the actor need to ask themselves, ‘What would I do, if I was in this situation?”, “What would I be feeling/reacting if I was in the same situation?”. The “if’ combines the actors experiences and imagination to add depth to the character. It also places emphasis on action of ‘doing’ something – how would you behave and what action would you take and therefore how would this impact on how your character reacts. Exercise: You are in a scene in an end of year exam. You notice that two students are passing notes and cheating. If you were in a similar situation, what would you do? Would you tell someone or pretend you didn’t see anything? Would you do something at the time or wait until later? Would it depend who the people were who were cheating? How would this information help in your character development? Using your reactions, improvise a scene around this scenario and allow your emotional reactions guide the scene. Now have the students return to the script and identify what they would feel or do in the situations they character is in and discuss how that will impact how they deliver the lines. Have them annotate their scripts. Emotional Memory Emotional Memory requires the actor to recall memories form their past that relates to what their character is experiencing. It is important not to force a painful memory but rather something that the actor can control. Using the senses, the actor recalls their emotional memory to add to the character’s reaction to ensure the character’s emotions are genuine and not acted. If an actor doesn’t have the memory to recall for a particular moment, they can use events that they have heard about Exercise: • Look at the scene you have been exploring. Determine the emotion in the scene. For example, Envy. • Recall a memory from your own life where you felt Envy. Write the memory down. Be specific. Try to use the five senses in your description. Prepared by CTD Copywriting 9 • Talk to your partner about what you have identified and do an improvisation around the emotion you have been looking at. You don’t have to use the scenario of your memory but remember how you acted and bring that to the scene. • Apply to the scene from the play Additional Activities for Exploring the Text: These activities help students explore the text and character and can be done as the play is being read or as a reflective exercise at the end of the play. These exercises provide the basis for more in depth character exploration that is key in understanding the Realism form. Still Images: establishing an understanding of relationships, characters and themes. Images could include: 1) Create a still image that represents the unrequited love in the play 2) Create an image that represents Konstantin’s symbolic seagull gesture 3) Create an image that represents the family relationship between Irina, Sorin and Konstantin Conscious Alley: this activity requires students to think about what a character is thinking about at particular moments of the play. It can be used with text or as an improvisation exercise. The thoughts of the character can be explored or what others are thinking about that character and events can be explored. 1) Students create two lines facing each other, leaving a pathway in between 2) One student in character walks down in between the two lines as they are passed the students in the line say a word or phrase that relates to the premise that has been established. 3) For example you could use the following a. As Konstantin kills the seagull b. When Irina begs Trigorin to stay c. Masha when she decides to marry Medvedenko 4) The activity can be extended to build intensity by having the character respond to the words and phrases being said to them; people in the alley can continue to repeat their word/phrase increasing in volume and pace to test how the character would react in this situation. 5) After the exercise have the participants reflect on how it felt to walk down the alley and what they all learnt about the character. As a safety measure for this activity, ensure that there is an understanding that everyone is in character and not being personally targeted. If particularly volatile emotions are to be explored, the teacher could take the role of the character entering the alley. Using text As they perform the following activities can be used to explore character: Thoughts is their Heads 1) Students perform the scene 2) Students then repeat the scene 3) At key moments call out freeze and tap actors on shoulder and have them reveal what their character is thinking 4) Discuss as a class what the inner thoughts reveal about the character how their thoughts compare with what they are actually saying. Hot Seating: 1) Have students in role and the rest of the class become the interviewers. More that one student can be each character to help offer different perspectives. 2) Interview the characters to flesh out their motives and thoughts for these scenes by asking the character questions Prepared by CTD Copywriting 10 ACT I The scene is laid in the park on Sorin’S estate. A broad avenue of trees leads away from the audience toward a lake which lies lost in the depths of the park. The avenue is obstructed by a rough stage, temporarily erected for the performance of amateur theatricals, and which screens the lake from view. There is a dense growth of bushes to the left and right of the stage. A few chairs and a little table are placed in front of the stage. The sun has just set. Jacob and some other workmen are heard hammering and coughing on the stage behind the lowered curtain. Masha and Medviedenko come in from the left, returning from a walk. Medviedenko. Why do you always wear mourning? Masha. I dress in black to match my life. I am unhappy. Medviedenko. Why should you be unhappy? [Thinking it over] I don’t understand it. You are healthy, and though your father is not rich, he has a good competency. My life is far harder than yours. I only have twenty-­‐three roubles a month to live on, but I don’t wear mourning. [They sit down]. Masha. Happiness does not depend on riches; poor men are often happy. Medviedenko. In theory, yes, but not in reality. Take my case, for instance; my mother, my two sisters, my little brother and I must all live somehow on my salary of twenty-­‐three roubles a month. We have to eat and drink, I take it. You wouldn’t have us go without tea and sugar, would you? Or tobacco? Answer me that, if you can. Masha. [Looking in the direction of the stage] The play will soon begin. Medviedenko. Yes, Nina Zarietchnaya is going to act in Treplieff’s play. They love one another, and their two souls will unite to-­‐
night in the effort to interpret the same idea by different means. There is no ground on which your soul and mine can meet. I love you. Too restless and sad to stay at home, I tramp here every day, six miles and back, to be met only by your indifference. I am poor, my family is large, you can have no inducement to marry a man who cannot even find sufficient food for his own mouth. Masha. It is not that. [She takes snuff] I am touched by your affection, but I cannot return it, that is all. [She offers him the snuff-­‐box] Will you take some? Medviedenko. No, thank you. [A pause.] Masha. The air is sultry; a storm is brewing for to-­‐night. You do nothing but moralise or else talk about money. To you, poverty is the greatest misfortune that can befall a man, but I think it is a thousand times easier to go begging in rags than to — You wouldn’t understand that, though. Treplieff comes in without a hat on, carrying a gun and a dead seagull. Treplieff. Are you alone here? Nina. Yes. Prepared by CTD Copywriting 11 Treplieff lays the sea-­‐gull at her feet. Nina. What do you mean by this? Treplieff. I was base enough to-­‐day to kill this gull. I lay it at your feet. Nina. What is happening to you? [She picks up the gull and stands looking at it.] Treplieff. [After a pause] So shall I soon end my own life. Nina. You have changed so that I fail to recognise you. Treplieff. Yes, I have changed since the time when I ceased to recognise you. You have failed me; your look is cold; you do not like to have me near you. Nina. You have grown so irritable lately, and you talk so darkly and symbolically that you must forgive me if I fail to follow you. I am too simple to understand you. Treplieff. All this began when my play failed so dismally. A woman never can forgive failure. I have burnt the manuscript to the last page. Oh, if you could only fathom my unhappiness! Your estrangement is to me terrible, incredible; it is as if I had suddenly waked to find this lake dried up and sunk into the earth. You say you are too simple to understand me; but, oh, what is there to understand? You disliked my play, you have no faith in my powers, you already think of me as commonplace and worthless, as many are. [Stamping his foot] How well I can understand your feelings! And that understanding is to me like a dagger in the brain. May it be accursed, together with my stupidity, which sucks my life-­‐blood like a snake! [He sees Trigorin, who approaches reading a book] There comes real genius, striding along like another Hamlet, and with a book, too. [Mockingly] “Words, words, words.” You feel the warmth of that sun already, you smile, your eyes melt and glow liquid in its rays. I shall not disturb you. [He goes out.] Trigorin. [Making notes in his book] Takes snuff and drinks vodka; always wears black dresses; is loved by a schoolteacher — Nina. How do you do? Trigorin. How are you, Miss Nina? Owing to an unforeseen development of circumstances, it seems that we are leaving here today. You and I shall probably never see each other again, and I am sorry for it. I seldom meet a young and pretty girl now; I can hardly remember how it feels to be nineteen, and the young girls in my books are seldom living characters. I should like to change places with you, if but for an hour, to look out at the world through your eyes, and so find out what sort of a little person you are. Nina. And I should like to change places with you. Trigorin. Why? Nina. To find out how a famous genius feels. What is it like to be famous? What sensations does it give you? Trigorin. What sensations? I don’t believe it gives any. [Thoughtfully] Either you exaggerate my fame, or else, if it exists, all I can say is that one simply doesn’t feel fame in any way. Prepared by CTD Copywriting 12 Nina. But when you read about yourself in the papers? Trigorin. If the critics praise me, I am happy; if they condemn me, I am out of sorts for the next two days. Nina. This is a wonderful world. If you only knew how I envy you! Men are born to different destinies. Some dully drag a weary, useless life behind them, lost in the crowd, unhappy, while to one out of a million, as to you, for instance, comes a bright destiny full of interest and meaning. You are lucky. Trigorin. I, lucky? [He shrugs his shoulders] H-­‐m — I hear you talking about fame, and happiness, and bright destinies, and those fine words of yours mean as much to me — forgive my saying so — as sweetmeats do, which I never eat. You are very young, and very kind. Nina. Your life is beautiful. Prepared by CTD Copywriting 13 Additional resources http://education.goodmantheatre.org/the-­‐seagull/ https://www.goodmantheatre.org/Documents/Study%20Guides/1011%20Season/THE%20SEAGUL
L%20Study%20Guide.pdf http://statetheatrecompany.com.au/assets/Education/TSStudy-­‐Guide.pdf References: http://homepage.smc.edu/jones_janie/TA%202/8Realism.htm http://www.thedramateacher.com/realism-­‐and-­‐naturalism-­‐theatre-­‐conventions/ https://ebooks.adelaide.edu.au/c/chekhov/anton/c51se/act2.html http://www.seagulltheplay.com/a-­‐brief-­‐summary-­‐of-­‐seagull-­‐play.html http://www.sparknotes.com/drama/seagull/quotes.html Photo: https://www.flickr.com/photos/chezjulia/193125983/in/photolist-­‐jAU2Rj-­‐jAQU1V-­‐jASWgb-­‐
jARYLT-­‐jAQU7X-­‐7JNS4V-­‐7n3KNy-­‐dvSvbM-­‐i4PCk-­‐4m8oG Licence: https://creativecommons.org/licenses/by/2.0/ Photo has been cropped Prepared by CTD Copywriting 14