The role of theatre in shaping Nina's character in The Seagull by Chekhov

The Seagull uses Anton Chekhov’s realist style as a means to examine the world of theatre.Through this, the audience is able to discern the development of the various characters’ identities andrelationships. Indeed, theatre as a plot element plays a prominent role in transforming the lives of theplay’s characters. Chief amongst these is Nina, a talented young actress whose life is completely changed by it. Through the use of various linguistic techniques, Chekhov shapes and matures her character, while the actual art of performing prompts her to develop her femininity, passions and interests, as well as the ability to escape the shackles of her traditional household.The role of performing is key in bringing self-awareness to Nina, and making her acknowledge the power of femininity and sensuality. There is a sense, throughout the novel, that she gradually becomes the typical young actress men fall in love with. It is through her performance that she manages to charm most characters around her. Chekhov makes this evidently clear in his choiceof diction when Nina is telling Treplyov’s what ingredients she believes to be necessary when writinga play: “I think a play should definitely have some love interest...” (Chekhov, 89) Her affirmative tone in the word “definitively” shows how she recognises the utility of theatre in capturing emotionaland physical attraction between people. This is telling of Nina’s character, as she is commenting onworks she will eventually be acting in; giving the audience the impression that she is making these suggestions for personal reasons. Although this could be interpreted as a manifestation of her creative preferences, her intimate ties to Treplyov and her knowledge of the infamous Trigorin coming to watch her, hints at the self-interest behind her artistic choices.Moreover, this is further emphasised when she admits: “I’m scared and feel awkward acting in front of him... A famous writer... Is he young?” (Chekhov, 89) The innocence behind her worriesevokes how new she is to the world of performing. The pace of her speech is segmented by ellipses which illustrates how overwhelmed she is by the idea of performing in front of one of her idols. Nevertheless, the question in the latter part of the sentence reveals the way she is distancing herself from embarrassment, and coming closer to curiosity. In posing this question the audience sees she has intentions of getting to know this character because of their common passion for theatre. Chekhov hasmade Nina’s character direct this question to Treplyov, which demonstrates the way she is able to forget her current relationships for the adrenaline rush a successful writer gives her. This is a turningpoint in Nina’s character as she comes to the realisation she can use her talent to meet people shewould have never had access to otherwise. This seems to ignite in her a sort of obsession over themysterious Trigorin. All in all, the stage and the advantages it brings with it, shape Nina’s idea ofsensuality and love. The playwright uses her innocence and her village-girl qualities to contrast with her transformation in becoming one of Moscow’s rising stars.Additionally, performing also develops her genuine passion for the art of theatre. Ninadevelops a “hunger” for acting, as well as an actress’ lifestyle. Chekhov, again, plays with stereotypes and uses her sudden and disproportionate devotion to the stage as possible criticism of young actors’ life choices when trying pursue in the arts. This is seen in many of Nina’s conversations withTrigorin, where she shares her love and admiration for theatre. Act II perfectly illustrates this withNina claiming that “For the happiness of being a writer or an actress I would bear family hostility, poverty, disappointment...” (Chekhov, 110) In enumerating the horrors she would live through tobecome an actress, the audience becomes convinced of her unconditional love for performing. The happiness the stage brings Nina triggers in her a readiness to sacrifice every certain and stable element of her life. The enumeration brings the audience to worry whether theatre is shaping Nina in a positive way. The naivety of her claim entails that she is attracted to the idea of being an actress, without really grasping how much her life will change. In falsely expecting happiness to be shared by all artists, the glamorous image of her life as an actress begins to fade.Nevertheless, Chekhov insists on portraying Nina as a driven and ambitious character, who will fight for her love of the stage. Preforming does not only bring her a passion, it strengthens hercharacter’s endurance. This is seen in her powerful declaration to Trigorin: “I have taken an irrevocable decision, the die is cast, I’m going on the stage.” (Chekhov, 123) In dividing herannouncement into three parts, an emphasis is put on every word. The lexical field of power can be found within this sentence alone, illustrating the confidence she has developed through theatre.Additionally, in using the idiomatic expression “the die is cast” the audience gets the impression this is an irrevocable decision, and that Nina does not require anyone’s permission to make life-changes.This line is representative of Nina’s growth since the beginning of the piece, as well as as givingChekhov’s piece a place in feminist literature.Finally, the visual imagery Nina uses to describe how she would expect renowned actors and writers to be treated evokes how her passion for theatre has changed the way she perceives reality. Inexpecting the audience to “carry me along in a chariot” (Chekhov, 110) the audience, once again, sees how her love for theatre has transported her to another dimension, one which is far from reality. The image of support from others contrasts completely with the unhappiness and solitude seen in Arkadina and Trigorin’s characters in the story. It is through their experiences that the audience is shocked that Nina would be capable of distorting the truth to this degree. Theatre therefore shapes Nina’s passionfor acting and her understanding of what life as an actress will be like.Similarly, theatre is Nina’s portal to escaping her family’s very traditional views on life. Sheuses the stage to develop herself as a woman, and to experience emotions she would have never been allowed to have within the constraints of her own community. Realism makes these sudden leaps forward contrast with the stability and monotony of the piece’s style. The playwright introduces thisin Act I in one of Nina’s very first lines: “They’re afraid I might become an actress... But I’m drawnhere like a seagull...” (Chekhov, 88) This simile is referenced in the title of the play, and it comes to no surprise that Nina’s need for freedom is highlighted as one of the central themes of the piece. Theaudience senses that preforming gives her wings, ones she can use to start a new life. Chekhov uses the poetic image of a seagull to compare Nina to, in order to evoke the beauty of her innocence and her everlasting attraction to new horizons. Like a seagull to the sea, Nina is drawn to Moscow and the stage. This quotation encapsulates Nina’s need to distance herself from her family, and escape intounknown territory.Furthermore, other instances in the play make reference to Nina’s escape into theatre. This is present when discussing Trigorin’s success for instance: “But, excuse me, don’t inspiration and the actual process of creation give you some elevated, happy moments?” (Chekhov, 110) In this, we see Nina’s confusion on why being an artist could ever bring something other than positivity. The commaseparating “elevated” and “happy” shows the pause Nina takes to brings herself to a moment ofintrospection and escape. In separating these two parts of the sentence, the audience experiences a shift in focus, going from Trigorin’s life, to Nina’s. The audience takes a moment to empathies with Nina and understand that the stage is her only source of real happiness. To conclude, performancegives Nina’s character the ability to escape her daily life and enter a reality where she feels more athome.Anton Chekhov’s The Seagull thus uses theatre to shape Nina’s character to a fascinatingextent. The audience watches her grow into a more confident, driven and happy character by the end of Act IV. Theatre has shaped her femininity, her passion and interests, as well as giving her the tools to teleport into another mind-set and reality. The once shy and modest village girl is ready forMoscow’s theatres by the time the curtain calls.