3 Sisters *

2006: all updates are @ RAT (Russian American Theatre)

Chekhov on DVD

Chekhov Books

Chekhov Plays M. Chekhov -- Acting One: Fundamentals


2004: webplans


Four by Chekhov:

The Seagull

Three Sisters

The Cherry Orchard

Uncle Vanya

"Small Chekhov":

Wedding & More


Virtual 3 Sisters

Russian & Soviet Theatre (Rudnitzki) * Russian American Theatre Archives


Letters of Anton Chekhov to his family and friends -- With a Biographical Sketch, Translated by Constance Garnett * eBooks@Adelaide 2004


3 Sisters Fomenko, Golden Mask 2006 : Первый сюрприз поджидает зрителя «Трех сестер» еще до начала действия: в углу сцены за конторкой сидит Чехов (сверимся с программкой: там персонаж Олега Любимова назван просто Человеком в пенсне). По ходу пьесы он, читая отрывки из чеховских писем, будет не то чтобы делать заметки на полях, а скорее осуществлять авторский надзор, делясь с публикой сомнениями относительно, скажем, того, можно ли доверять Станиславскому самостоятельную работу: нет-нет, надо непременно ходить на все репетиции!

Beckett and Chekhov (Godot 2006) Performing Chekhov -- Mobipocket eBooks * By: David Allen Price: $19.99

Waiting for Godot

©2006 Fall:


2007 Spring:


2008 Stoppard



This is a template, the project isn't over to write PS.

Of course, there was no time for post-production and we are left with the miles of the videotapes.

PS are the transition pages... Go to other directories affiliated with "3 Sisters" -- Chekhov pages, Method Acting or StageMatrix (directing).

(from 3sis Forum) Date: Fri Sep 24, 1999 5:49 pm
Subject: [3sis] Virtual Theatre Manifesto

Do you realize what this means? This means you are in space and time as variables. There are too many perpendicular lines…Epic and Drama…
But I think that individual points need to be clarified. It is amazing some of the combinations, but they need to be pulled apart. To begin with, who is your audience? Each is going to require a different type/level of explanation. It should be step by step. You are combining three schools here in one swift blow, so it should be a gradual explanatory process. The Brecht, Artaud, and Eisenstein are all sleeping in the same bed…but how? The focus on individual items to convey meaning is from Eisenstein, and is the benefit from the use of film. The HTML separates itself from the film in the process however. What you are attempting sounds more like Dionysus in 69 than Wild Strawberries. There are "Cruelty" aspects with the actors struggle being so obvious to the audience. The live audience won't be allowed to forget for a minute that they are watching the play- the equipment alone will do that. Sorry that this is such a simplified breakdown, but it was just the area that I was thinking you might be going with Virtual Theatre.
I see the process being on-line to be a use of HTML, but I don't see the live broadcast that different from TV when it boils right down to it.
It is the process that works on the web, and works in demonstration- this is educational theatre, and therefore process is stressed. The new process to me is what is interesting.
I have been observing the web as a great communication tool. I do come from a background of gay activism, so I am biased. I have seen within the GLBTS rights struggle, a community and civil action has been formed through binary code and html. Ruralites were able to connect to those in the ghetto, and if there is a hate crime in Bethel I get an email the next day (which is good because the newspaper is still lax to report anything). So I am biased in that I can see the effect that it can have.
I think this is what Alan Ginsburg would have wanted when he said that everyone should have free and complete access to printing presses. So everyone can do his or her own independent comics… Even photocopies inspired artist like Barbara Kruger to invent a new genre; the Internet should become a medium for performance. Sorry for my rambling, I am just very excited about the direction that things are going in.
I just think a manifesto can go into either more depth or be very specific and simplified. Each point should be a thesis for a full textbook to be written. As it stands I left feeling vaguely confused about something I have been dealing with for some time… That's my two cents for now… Thanks,

Let me repeat myself (from Film600 and script.vtheatre.net):

Where teaching and studying (research) meet --

Theme-thought, according to different playwrights (Shakespeare, Ibsen, Strindberg, Chekhov and so on) and directors (Fillini, Kurosawa, Tarkovsky, Bergman pages).

Connections with other themes (list): family, gender and sex...

Finally, my own practical investigations: shows.vtheatre.net (only recently I began to make themes pages, Don Juan 2003, for example).

And the nonfiction (writing), of course: HIM, Father-Russia, PostAmeriKa, Self, POV, Tech (gatepages are in WRITE directory).

Yeah, yeah, there is more -- "philo" pages, metaphysics: in theatre theory directory, for instance (topics-bar: space, time and etc.)
Plus, Virtual Theatre and Book of Spectator!

Web? Oh, this is just medium. Like stage, screen, writing...

2009 --
Next: HamletDreams 2001


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