How Would You Want Your Audience to Respond to Nina in Her Final Appearance of the Play? Discuss How You Would Perform the Role, in Three Sections of the Play, in Order to Achieve Your Aims.

1732 Words Oct 29th, 2012 7 Pages
How would you want your audience to respond to Nina in her final appearance of the play? Discuss how you would perform the role, in three sections of the play, in order to achieve your aims.

At the end of ‘The Seagull’ the audience will have seen Nina’s journey from youthful optimism in Act One, as the adored girlfriend of Konstantin and a would-be actress, to disappointment and unhappiness in Act Four, as the abandoned lover of Trigorin and a third rate professional actress.

If I were to play the role of Nina, I would want my audience to be saddened by my final appearance at the end of the play and yet to respond positively to my fortitude. The audience see that my dreams have been thwarted, although not extinguished.

Nina is a
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While my feelings for Konstantin were genuine, they were comparatively chaste; the audience, watching me reciprocate while Trigorin kisses me, will be alerted to the fact that I am now a woman whose passions have been aroused and I ignore conventions of modesty. I will hold Trigorin’s head as he kisses me and lift one foot off the ground behind me as I almost swoon into him.

This will prepare the audience for Nina’s sacrifice to the man who so resembles his ‘idea for a short story’, who destroys her, ‘quite idly’. It will add to their feelings of sympathy and sadness when they see her in Act Four, bereft of Trigorin and startled when she hears his laughter ringing through the house.

One of the reasons why the audience will feel sympathy for Nina at the end of the play is that they have seen her embark on her own course of self-destruction, oblivious to the dangers posed by Trigorin.

Trigorin’s interest in Nina is fuelled partly by his own vanity and when he reads his own words engraved on the medallion that Nina presents him with, he is flattered into arranging an assignation. I would emphasise Nina’s naïveté in Act Three when giving Trigorin the medallion; I would not want the audience to believe that I am flirting with him. I will approach him childishly with my hand clenched and outstretched when I say ‘Odds or evens?’ Looking up at him,

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