Abstract
For two years they had been unable to mount a new production, but with the war behind them and the company swollen with returning members, Deeter added Chekhov to the 1946 season. Uncle Vanya had always intrigued him because of its rich characters and its deft and deceptive story line, and he was anxious to explore the behaviors that motivated and propelled these charming and failed people. In addition, the small cast, limited interiors, and minimal technical demands allowed him to open a new production without an expensive outlay.
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Notes
Interestingly the notion of empathy was critical to Stanislavski. Sharon Carnicke writes, “Stanislavski reminds the actor that one’s empathy (sochuvstvie, a derivative of the word “to feel”) can be as powerful as one’s own emotions in creative work.” See Sharon M. Carnicke, Stanislavski in Focus (London: Harwood Academic Publishers, 1998), 170.
See Michelangelo Capua, Montgomery Clift: A Biography (Jefferson, NC: McFarland & Co., 2002), 23–24
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© 2013 Barry B. Witham
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Witham, B.B. (2013). Uncle Vanya: A Way of Acting. In: A Sustainable Theatre. Palgrave Studies in Theatre and Performance History. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137121851_8
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DOI: https://doi.org/10.1057/9781137121851_8
Publisher Name: Palgrave Macmillan, New York
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