Co-branding: challenges and opportunities in international marketing

Co-branding: challenges and opportunities in international marketing Strategic alliances Created by engaging companies and brands in co-branding is gaining popularity across different industry. Disneys alliances with Mattel, McDonalds and Burger King are prime examples of such co-branding ventures. Co-branding is the strategy of presenting two or more independent brands jointly on the same product or services. (Erevelles et al., 2007) In co-branding-also called dual branding or brand bundling- two or more well known brands are combined into a joint product or marketed together in some fashion. (Kotler keller, 2009) Co-branding as â€Å"a form of cooperation between two or more brands with significant customer recognition, in which all the participants brand names are retained† (Blackett and Boad, 2002) Co-Branding It is a win-win situation where both parties indulged in this process and it is helpful for them to increase the value a brand hold. Sometimes in worse scenarios, it might can harm one among them which is usually the stronger brand effected by the other brand. This makes selecting the partner brand the most important factor which fits with the companys value, image and product. The presentation speaks about the major objectives to why to go under co-branding and their shared values as to how they are created and relate to other brands. Internationally the co-branding can provide physical product integration or complimentary usage and image. Co-branding is been practiced in almost every kind of big and small industry. Be it FMCG industry, Travel Industry, Fashion Industry e.g. The outputs from co-branding are usually more than perceived or expected. â€Å"Because brand names are valuable assets, they may be combined with other brand names to form a synergistic alliance in which the sum is greater than the parts† (Washburn.J.H; Till.B.D; Priluck.Randi, 2000). Grabbing the opportunity is the second most important aspect. To be at the right place at the right gives you an edge over others. The presentation reveals Joint Ventures as a co-branding which conflicts the mind. Another conflict among the presentation was to name celebrity endorsement as co-branding. Celebrities are brands in themselves or not. There are debates going on at global stage that is it a part of co-branding, acquisition and celebrity endorsement actually. It is a widely used business strategy in industries like food and drinks, retailing, air travel and financial services, with the number of firms using it growing by forty percent/year (Blackett and Boad, 1999). Co-branding can be defined as several brands collaborating in technology development, marketing, or production while keeping their independence as separate business entities (Stewart, 1995. Marketing News 29(4), 5). Co-branding is increasingly becoming a popular strategy in the hospitality industry. In general, co-branding cards can be an effective marketing tool that helps family restaurants to build both behavioral and attitudinal custome r loyalty. Co-Branding Internationally Globalization has accelerated, so has the choice of brands, both foreign and domestic (Hsieh, 2002). A brand has been defined as: â€Å"an identifiable product, service, person or place augmented in such a way that the buyer or user perceives relevant unique values which match their needs most closely† (de Chernatony, 1998, 3). The associated incremental value added to the product by virtue of its brand has been referred to as its brand equity (Aaker, 1991; Keller, 1993). In todays competitive battleground, the concept of brand equity has proved to be an important source of strategic insight for marketers (Moore, Wilkie and Lutz, 2002, 17). City Branding: City branding is a rapidly growing concept. This practice is adopted by many cities build up urban competition for mobile resources, markets, opportunities and attention across the globe. Crucial strategy within city branding is the creation of the citys identity, which should be developed from a range of contextual variables such as history, demography, economy, politics and policies. A city usually has certain identifiable images or core values perceived by its people. For example, Paris is perceived for romance, Milan for style, New York for diversity and dynamics, Washington for power, and Tokyo for modernity. (L. Zhang, S.X. Zhao / Cities 26 (2009)). Branding Beijing, the capital of China for the Olympics 2008. Branding London, the capital of United Kingdom for the Olympics 2012. Many of the large and small companies will be officially involved in many of the activities. Like McDonalds is been named as the official restaurant for the Olympics 2012 in London. Around 7,000 direct contracts are expected to generate huge profits and around 75,000 opportunities. Co-Branding across the culture: Culture also has a great influence on buying behaviors. Co-branding is a popular technique used in domestic markets to transfer the positive associations of the associate brands to a newly formed co-brand (Linda C. Ueltsch, 200) Every culture has their own effects. Taking an example of Pakistan and India, they share similar culture across the border. And a company like Pepsi came up with an ad featuring celebrities from both sides. And launching the advertisement in both countries. Examples: In the photocopy market, many products sold by, say, Canon are actually made by Ricoh. In the car industry, although BMW own the rover company, at the product level Rover cars show no BMW logo or connection. Mercedes and Swatch launched innovative car named â€Å"Smart† as a result of joint venture. Mercedes is unlikely to put its trademark on the smart! Because of the threat. In the Tea market, Nestle and coca Cola launched a product â€Å"Nestea† against Unilevers range. Nestle create the product while, and Coca Cola market and distributed it. Research has shown that customer evaluations of co-brands are affected by the degree to which the skills and resources of the parent brands are perceived to fit with or generalize to the new co-brand (Klink and Smith, 2001). The theoretical foundations in the cognitive psychology literature suggest that similarity between a brand and an extension or alliance facilitates the transfer of knowledge, attitude and purchase intention (Martin and Stewart, 2001). Even a well phrased co-branding agreement cannot promise success of an poorly picturized co-branding strategy. Co-branding is not always a practical option for all products or services. co-branding done without proper research and planning may cause more damage. Thats why co-branding strategy must be carefully thought out and is usually successful when symbiotic or synergistic brands and goods are combined through an effective marketing plan. The international marketing of mobile services: Mobile Marketing The presentation highlights the rapidly shifting trends of technology. And gaining popularity among the new generation. The shift from physical to internet and recently from computers to mobile. Mobile data services are the convergence of mobile communication technologies providing data services. Explaining and elaborating various categories of mobile data services available to the public. The demand for mobile devices equipment such as cell phones, PDAs, and digital music players that are typically used on an anytime, anywhere basis without being connected by wires and services that use these mobile devices (mobile services) is growing rapidly worldwide. (Shankar, V. Balasubramanian, S. (2009)). What is Mobile Marketing? The mobile channel is a multi-faceted interactive network for delivering individual communication, personalization, information and entertainment products and services. (Manis, 2005; Becker 2005; Bragge et al. 2005; Dickinger et al. 2004; Nysveen et al. 2005). A set of practices that enables organizations to communicate and engage with their audience in an interactive and relevant manner through any mobile device or network (Mobile Marketing Association, 2009). Mobile Data Services integrate handheld and internet technologies to create new value prepositions (Keen and Mackenzie, 2001, quoted from Gilbert, 2003). According to Informa Telecoms Media, a research conducted in April 2006, there were 215 million mobiles subscribers in 1997. There are around 2 billion mobile users in 2005. And this count is expected to reach 3 billion in 2010. The emergence of mobile commerce The number of mobile phone users worldwide has increased rapidly over the last five years; from an estimated 1.87 billion in 2004 to 2.5 billion in September 2006 (InfoSync World, 2004; Usability News, 2006). In Japan, already seven out of 10 people have cell-phone accounts, and in countries such as Italy, Norway, Sweden and the United Kingdom, the market penetration of mobile phones has already exceeded 100% (Sultan and Rohm, 2005). Undoubtedly the mobile phone has been one of the fastest adopted consumer products of all time (Kalakota and Robinson, 2002; Scornavacca et al., 2006). In addition, according to Forrester Research (2005), some 90 per cent of all phones in use will be mobile Internet-capable this year. The proliferation of Internet-enabled mobile devices has created an extraordinary opportunity for e-commerce to leverage the benefits of mobility (Barnes and Huff, 2003; Clarke, 2001; Durlacher Research, 2002). The conduit for this is mobile e-commerce, commonly known as m- commerce, which refers to the ability to conduct financial transactions (including, but not exclusively, the ability to purchase goods or services) through a wireless Internet-enabled device (Barnes, 2002a; Scornavacca and Barnes, 2006). Integration with Marketing Mix Integration with Marketing Mix is the key to success. It Deliver consistent brand value/image. And gives a fresh element on companies promotion mix. According to mobile data association in UK, almost 94% of SMS received are read. And around 36% users admit that they are likely to purchase products. (Karjaluoto et al. 2004) Complexity of the technology enables to acquire the mobile data services by users. New learning methods enabling consumers to bridge the gap between the advanced technology and user interface. Solving the problems and adding value in everyday life. Opportunities Threats Untapped Customer Segments. Growing Popularity of Wireless Broadband.Limited Use of PC-Based Internet Services (3rd screen) are the key opportunities for the mobile marketing. There are many threats attached to it too. Regulatory Interference can be a hurdle. Continued Pressure on Revenue as it is a long time process. Cost of New Investments Eroding Data Services Profitability and Competition From Carriers and Other Service Providers. Portability An important benefit of a mobile device to consumers is its ultra small size and the ease with which it can be carried (Balasubramanian et al. 2002). A mobile device is not only portable, but because it fits in a hand, it is a constant companion to the user and is used on a continuous basis. This property makes it easier for marketers to quickly communicate with the user at any point in time, but the small screen size does not allow information-intensive messages to be delivered. Post-purchase behavior Research shows that after controlling for selection, online customers are more loyal than offline customers, so migrating customers from offline to online could enhance customer loyalty (Shankar, Smith, and Rangaswamy 2003) Acceptance of Mobile Marketing Acceptance of mobile marketing across two global markets. Drawing upon technology acceptance and uses and gratifications theories, we develop and estimate a conceptual model of the influences of antecedent factors (including risk acceptance related to the mobile platform and personal attachment related to mobile devices) on behavioral intent related to mobile marketing practice. We further propose that the above relationships are mediated by activities that consumers engage in such as downloading, forwarding content and registering with firms. Focusing on youth consumers, we empirically test the model using data collected in both an established (U.S.) and an emerging market (Pakistan). Findings across these two markets reflect cross-market similarities and differences related to consumer acceptance factors. (F. Sultan et al.(2009)) Mobile marketing research Mobile marketing is a new technology. This is successful because it is a two way communication unlikely to the traditional research process. It involves active audience which is interactive, not passive. And researches gets a rapid feedback. In many countries, social, cultural and political issues are discussed with the general population. Like in India, IDEA mobile company launched and advertisement showing the use of polling through mobile where the youth can express their own views to government. Short Messaging Services Innovation creates marketing opportunities and challenges. Mobile media, for example, transcend traditional communication and support one-toone, many-to-many and mass communication. The most popular mobile application, referred to as text messaging in the UK or Short Message Service (SMS) in most other countries, attracted 580 million users who sent 431 billion messages in 2002. In the first quarter of 2004 users sent 135 billion SMS messages and predictions are that 94.9 million mobile commerce users in 2003 will grow to 1.67 billion users by 2008. SMS will account for the bulk of mobile telephone companys revenues from data services until 2006. This high diffusion of SMS facilitates analyzing usage behavior and hints at the commercial potential of future communication services. Multimedia Messaging Services (MMS), for example, will build on the success of SMS but allow for richer content based on similar asynchronous, digital and interactive communication. (A. Scharl et al. (2005)) Mobile shopping In interviews with more than 100 Japanese and foreign firms between 2000 and 2005, the author investigated the impact of a number of technological trajectories on mobile shopping applications that are suggested to be promising ones based on the behavior of lead users. Push-based Internet mail and other key services that are not yet available inWestern markets were the initial drivers of the market for mobile shopping in Japan between 2001 and 2003. Currently, the fastest growing market for mobile shopping in Japan involves the integration of mobile sites with other media such as magazines and radio and television programs where these other media compensate for the small screens of mobile phones. This paper forecasts the impact of improvements along a number of technological trajectories on the integration of mobile sites with other media. (J.L. Funk. (2007)) A mobile device is not a standard personal computer. It is a frequently used, location-sensitive device with very limited visual space. A mobile message will be most effective if it is brief, memorable, and well-coordinated with time and the users location. The rapidly changing technology can be a flaw. Simply transporting a companys Internet marketing strategy to mobile marketing strategy could be a recipe for failure. The impact of culture in international e-commerce. The Internet The Internet (or World Wide Web) is a network of computers providing access to information from around the world. Many businesses and government agencies have set up Internet sites (websites) providing information on their business. (Department of Trade and Economic Development) E-Commerce E-Commerce (Electronic Commerce) is a form of business operation in which the parties interact over computer, mails over the Internet rather than by physical exchange or conduct. (Department of Trade and Economic Development) What is E-commerce: V. Zwass [127, p. 3] defines e-commerce as â€Å"the sharing of business information, maintaining business relationships, and conducting business transactions by means of telecommunications networks.† Treese and Stewart [112, p. 5] define e-commerce as â€Å"the use of the global Internet for purchase and sale of goods and services, including services and support after the sale.† Kalakota and Whinston [61, p. 3] define e-commerce as â€Å"the delivery of information, products/services, or payments via telephone lines, computer networks or any other means.† They do not limit their coverage to just Internetbased means. Kauffman and Walden [67, p. 3] emphasize â€Å"the Internet as a medium for enabling end-to-end business transactions.† Their definition â€Å"applies equally well in dotcom [and] Internet-only business settings, as well as more traditional business settings where the new channel of the Internet is being used alongside existing channels.† The main business uses of the Internet E-commerce allows consumers and customers the ability to buy, sell and advertise products and/or services. It is a tool to interact businesses and customers around the globe. It is useful for companies to promote product and services through different means like brochures, manuals, product updates, and websites e.t.c. E-commerce arguably has a potential to add a higher value to businesses and consumers in developing countries than in developed countries. Yet most developing country-based enterprises have failed to reap the benefits offered by modern information and communications technologies Barriers to e-commerce in developing countries Economic and sociopolitical factors focus primarily on the environmental characteristics, the cognitive component reflects organizational and individual behaviors. Arguably, for the initial adoption of e-commerce in developing countries, the cognitive component plays a more prominent role. As organizations assimilate sophisticated e-commerce practices, environmental factors play more critical roles Economic Barriers In under-developing countries, lack of electrical supply is a big barrier for e-commerce as all the devices included in a transaction, runs on electricity. Lack of purchasing power is also one of the biggest. As people hardly have money to make their livings. Resulting in a low percentage of people having access to Internet. Manufacturing companies of Information and Communication Technology products focus on large distributors often located in developed countries for achieving high sales and they dont focus to the under developing countries. This is another problem with the e-commerce industry. Credit cards is a key factor for completing the deals over internet for making the payments. In Asian Countries, 34-40% of the financial transactions are being made in form of cash. Other systems are underdeveloped such as online banking is not popular. (N. Kshetri, (2007)) Socio-politic Barriers In Asian countries, personal relationships are important in businesses while anonymous online relationships are considered as threaten established interpersonal networks. As well as people prefer to deal face-to-face are preferred over business deals made through e-mails and internet. Political factors are not implied and they lack law legislation and the electronic signatures. Cognitive barriers Cognitive barriers are more serious than other categories of barriers in developing countries. Consumers lack of awareness and knowledge of benefits involved in ecommerce and their lack of trust in service providers have also hold back the growth of e-commerce. Latin America, experience a low rate of credit card is an attributed to the â€Å"lack of trust in than lack of access to† the credit card system. E-commerce and mobile Internet has been expanded substantially by a new generation of mobile devices, opening the door for rapid growth of mobile-commerce. While the traditional PC access to the Internet continues to be vital for exploiting the advantages of the Internet, the mobile access appears to attract more people because of flexible accesses to the Internet in a ubiquitous manner. Accordingly, e-commerce is now in the process of being converted into m-commerce. The purpose of this paper is to develop and analyze a mathematical model for comparing e-commerce via the traditional PC access only with m-commerce which accommodates both the traditional PC access and the mobile access. The distribution of the number of products purchased by time and the distribution of the time required for selling K products are derived explicitly, enabling one to assess the impact of mobile devices on e-businesses. (U. Sumita, J. Yoshii, (2009)) The global marketing use internet which ‘enables firms to leap-frog the conventional stages, as it removes all geographical constraints, permits the instant establishment of virtual branches throughout the world, and allows direct and immediate foreign market entry to the smallest of businesses (Bennett, 1997, p. 327). The Internet is creating a unique global marketplace that has the potential to change profoundly the way international business is conceptualised and configured (Srirojanant and Thirkell, 1999; Bennett, 1997; Kedia and Harveston, 1999). The rapid commercialization of the Internet calls into question many of the fundamental tenets of international business (Hamill and Gregory, 1997, p. 9). DEVELOPING INTERNET E-COMMERCE BENCHMARKS Benchmark is a standard for measuring and comparing the performance of like systems. For new product makers, a benchmark can provide important statistical information so products can be tine-tuned before their deployment. For end users, on the other hand, a benchmark can be used to compare the strengths and weaknesses of different products so that an informed decision can be made about system adoption. Benchmarks aid in estimations of scalability in terms of the number of users and/or transactions that a system can support, and system response times under various loads and hardware/software deployment platforms. Needs of small to medium enterprises (SMEs) and big business and we motivate the need for a benchmark suite for e-commerce. (DAWN JUTLA et 1999) The Internet has altered international business development. The ways in which e-commerce continue to evolve. It makes sure that any statute changes they make can deal with future developments, even if these appear somewhat nebulous at present. It really depends on ones stand point as to whether e-commerce is seen as being or producing something new, which requires separate tax regulations. In terms of theoretical considerations, the current situation must be regarded as unsatisfactory. (J.F.Hughes, K.Glaister (2001)

Mise-En-Scene

Mise-en-scene denotes the varying elements that are placed in a scene. This includes the camera needed components that are used to generate meaning –costume/lighting/acting and the types of shots used and camera techniques/movements. Thus the main function of Mise-en-scene is to add to the narrative by creating meaning, allowing creative expression through the physical  manipulation of each scene. The chosen film is Bram Stokers Dracula, 1992. The establishing shot begins with Vladimir turning against God.From the onset strong religious symbolism such as and Islamic crescent as a shadow on a map and a crucifix falling to the ground are present. The non-diagetic sound that is heard creates a dramatic tone with a building crescendo when the battle commences with Vladimir kissing the Cross. The battle is portrayed similar to a marionette show surrounded by blazing fire, creating a mystical atmosphere. The use of subtitles when Vladimir is informed of his wife’s suicide a gain supports a mythical ambience and shifts Vladimir’s belief in God, by throwing down his sword blood pours from the freshly pierced cross.Binary opposition is present with Good vs. Evil with the blood covering the ground. This represents the smother effect of evil. The responder is then presented with a shift from the current scene to the bitter sites of London a desolate contrast to the just occurred. We are informed of the date and situation emphasising that we are now viewing the present opposed to a the past. Meaning is primarily shaped by mise-en-scene in the opening sequence due to very thin dialogue.The narration by Anthony Hopkins helps the responder link meaning to the mise-en-scene. The elements such as the Crescent’s shadow or the falling cross allow us to realise who is fighting and the location. Due to the fact that the meaning is created through both a mixture of mise-en-scene and dialogue through comparative analysis we are able to assume what the tru e meaning is. However in this scene the mise-en-scene is more effective element than dialogue due to the minimal discourse present.The main genre of Bram Stokers Dracula is Horror and uses the typical mise-en-scene associated with this genre. Blood, fire, demonic creates, ominous lighting (red/black), quick camera movement and death all reflect that of a horror film. We can conclude from this that much of the mise-en-scene is determined by the genre. Also the narrative of the film is in contrast to what the mise-en-scene indicates. Dracula goes to England to seduce Jonathan Harker’s fiance and inflict havoc.With analysais of the mise-en-scene we assume that Dracula yearns to inflict havoc, due to the evil looking eye in the sky, the dark ominous lighting. However with support from the dialogue it informs the responder that Dracula feels for his lost wife. Overall the mise-en-scene supports particular aspects of the narrative whilst conveying a gothic and evil atmosphere.Bibli ography  : Bordwell D. and Thompson K. , 2003. Film Art: An Introduction. 7th ed. Mcgraw-Hill Gibbs, J. , 2002. Mise-En-Scene: Film style and interpretation. 1st ed. Wallflower press Mise-En-Scene Mise-en-scene denotes the varying elements that are placed in a scene. This includes the camera needed components that are used to generate meaning –costume/lighting/acting and the types of shots used and camera techniques/movements. Thus the main function of Mise-en-scene is to add to the narrative by creating meaning, allowing creative expression through the physical  manipulation of each scene. The chosen film is Bram Stokers Dracula, 1992. The establishing shot begins with Vladimir turning against God.From the onset strong religious symbolism such as and Islamic crescent as a shadow on a map and a crucifix falling to the ground are present. The non-diagetic sound that is heard creates a dramatic tone with a building crescendo when the battle commences with Vladimir kissing the Cross. The battle is portrayed similar to a marionette show surrounded by blazing fire, creating a mystical atmosphere. The use of subtitles when Vladimir is informed of his wife’s suicide a gain supports a mythical ambience and shifts Vladimir’s belief in God, by throwing down his sword blood pours from the freshly pierced cross.Binary opposition is present with Good vs. Evil with the blood covering the ground. This represents the smother effect of evil. The responder is then presented with a shift from the current scene to the bitter sites of London a desolate contrast to the just occurred. We are informed of the date and situation emphasising that we are now viewing the present opposed to a the past. Meaning is primarily shaped by mise-en-scene in the opening sequence due to very thin dialogue.The narration by Anthony Hopkins helps the responder link meaning to the mise-en-scene. The elements such as the Crescent’s shadow or the falling cross allow us to realise who is fighting and the location. Due to the fact that the meaning is created through both a mixture of mise-en-scene and dialogue through comparative analysis we are able to assume what the tru e meaning is. However in this scene the mise-en-scene is more effective element than dialogue due to the minimal discourse present.The main genre of Bram Stokers Dracula is Horror and uses the typical mise-en-scene associated with this genre. Blood, fire, demonic creates, ominous lighting (red/black), quick camera movement and death all reflect that of a horror film. We can conclude from this that much of the mise-en-scene is determined by the genre. Also the narrative of the film is in contrast to what the mise-en-scene indicates. Dracula goes to England to seduce Jonathan Harker’s fiance and inflict havoc.With analysais of the mise-en-scene we assume that Dracula yearns to inflict havoc, due to the evil looking eye in the sky, the dark ominous lighting. However with support from the dialogue it informs the responder that Dracula feels for his lost wife. Overall the mise-en-scene supports particular aspects of the narrative whilst conveying a gothic and evil atmosphere.Bibli ography  : Bordwell D. and Thompson K. , 2003. Film Art: An Introduction. 7th ed. Mcgraw-Hill Gibbs, J. , 2002. Mise-En-Scene: Film style and interpretation. 1st ed. Wallflower press

Three Sisters

The Three Sisters Summary Act I Act I takes place on May 5th of an unspecified year, in an unspecified provincial town in Russia. It is the twentieth birthday of Irina, the youngest of the sisters mentioned in the play's title. It is also the one year anniversary of the death of their father, Colonel Prozorov, who moved his family there from Moscow eleven years earlier. Irina and her older sisters, Olga and Masha, receive visitors, members of the military battery that is assigned to the town.The sisters discuss how bored they are with the town, how they long to move back to Moscow, and their brother Andrei, who will probably become a university professor. Olga, who is twenty-eight and the oldest sister, expresses interest in the new lieutenant colonel who has been assigned to the town, Vershinin, but is told that he is married, with two children. Chebutykin, the drunken old doctor who had been in love with the girls mother, gives Irina a silver samovar for her birthday, which is cons idered an inappropriate gift.Vershinin arrives, explaining that he knew the sisters' father back in Moscow, and that he remembers them from when they were girls. When he talks philosophically about how time makes all their lives insignificant, Solyony, a rough staff captain, mocks him by spouting gibberish. The sisters explain that they have been teasing their brother Andrei for being in love with a local girl, Natasha, who is married to the chairman of the county board, Protopopov. Masha's husband, Kulygin, arrives to take Masha to a school function, but she angrily refuses to go.Tuzenbach, an army lieutenant, expresses his love for Natasha, but she expresses her disinterest in him. When Natasha enters, Olga feels sorry for her poor fashion sense and suggests that her belt does not match the rest of her clothes. When everyone else leaves for the dining room for the celebration, Andrei tells Natasha of his love for her and asks her to marry him. Act II Almost a year later, in mid-Fe bruary, Andrei and Natasha are married and living in the family house.The sisters have invited their friends and some performers from the carnival that is in town over to the house, but Natasha tells Andrei that she objects to letting them in because she is worried about the health of their baby, Bobik. Ferapont, an old servant, enters with paperwork for Andrei, who is the secretary of the county board. When they leave the room, Masha and Vershinin enter and discuss their love for each other. Irina and Tuzenbach enter; he still is in love with her, and she is still uninterested. They discuss the great gambling losses that Andrei has incurred.Vershinin is called away by a letter from his daughter, saying that his wife has attempted suicide once again. Solyony arrives, is rude to Natasha, and is threatening to Tuzenbach, the reason for which becomes clear later in the scene, when he expresses his love for Irina and vows to kill any rivals. Natasha has the carnival performers sent away when they show up at the door, and, while Irina is upset about Solyony's threatening words, asks her to move out of her bedroom and into Olga's so that the baby can have her room.She goes to the door when she hears a sleigh bell and comes back acting surprised that it is Protopopov, come to take her for a ride, explaining that she feels that she has to accept. Kulygin and Vershinin enter the scene again the former's meeting is over and the latter's wife is all right to find that everyone has gone. The scene ends with Olga complaining of her terrible headaches and Irina repeating her wish to return to Moscow. Act III Act III takes place nearly four years after the opening of the play; Irina, who was twenty then, tells Olga that she is â€Å"almost twenty-four† while explaining how washed up she feels.This act takes place in the bedroom Olga and Irina share, while a fire is spreading across the neighborhood outside. Olga is choosing clothes from her closet to give to the fire victims, who have lost all of their belongings. She has invited people who have been made homeless by the fire, particularly Vershinin and his family, to spend the night there, but when she enters Natasha objects, saying that she doesn't want her son and new daughter to be exposed to the flu. Natasha discussing firing Anfisa, the old nurse who, as Olga explains, has been with the family for thirty years.Kulygin enters, again unable to find Masha, and brings the news that the doctor, Chebutykin, is drunk. When he enters, feeling guilty about a patient that has died, Chebutykin picks up a clock that once belonged to the girls' mother and breaks it: in his embarrassment, while everyone is staring at him disapprovingly, he blurts out that Natasha and Protopopov are having an affair. When Masha arrives, she and Vershinin communicate to each other in code, with musical notes. Kulygin tells Masha how much he loves her, how important she is to him, but she asks him to leave her alone to res t for a short while.When everyone is gone, the sisters talk about how difficult their lives are and about how difficult Natasha has made Andrei's life. Olga's advice to Irina, who hates her job, is to marry Tuzenbach, whether she loves him or not. After Natasha passes through the room with a candle, Masha confesses to her sisters that she is in love with Vershinin. Andrei enters and tells them that he has mortgaged the house to pay his gambling debts and given control of his money to Natasha. Irina announces that she will marry Tuzenbach. Act IVAbout a year after the previous act, in the garden outside of the house. The soldiers have been assigned to a new post and are stopping by throughout this scene to say goodbye. There is gossip about a fight that took place the previous day outside of the theater, during which Solyony challenged Tuzenbach to a duel. Olga is living at the school where she teaches, and Irina is planning on leaving with Tuzenbach later that day for Moscow. Chebut ykin leaves to be a witness to the duel, and Andrei enters, pestered by his assistant to sign more and more paperwork for the county board.As Masha cries over being left by Vershinin, her husband, Kulygin, tries to comfort her, not admitting that he knows what she is upset about. Natasha already has plans for the rooms of the house being vacated: she is moving Andrei down to Irina's room, ever further from her own, so that her baby Irina can have his room. Word comes that Tuzenbach has been killed in the duel, and at the play's end Irina, Olga, and Masha think about the future, hoping that they may one day understand the meaning of it all. The Three Sisters IntroductionChekhov referred to  The Three Sisters  as a â€Å"drama,† preferring to avoid the more confining labels of either â€Å"comedy† or â€Å"tragedy,† although later critics have argued for both of those labels. It is one of the four major plays that he wrote at the end of his life. Chekhov was a n accomplished fiction writer, one of the one of the most influential short story writers of all time. At the time that his plays were being produced there was some criticism that his dramas too closely resembled the style of fiction.Traditionalists found the action too cramped and the characters too inexpressive, noting that there were too many people on the stage at any one time, doing nothing, for audiences to be able to register the significance of it all. Contrary to expectations, though, Chekhov's plays were very popular in Moscow, where they were staged by the famous Moscow Art Theatre under the direction of Constantin Stanislavsky. The Three Sisters  was the first play that Chekhov wrote specifically for the Moscow Art Theatre, having experienced commercial success in his previous collaborations with the company,  The Seagull  and  Uncle Vanya.Like many of Chekhov's works, it is about the decay of the privileged class in Russia and the search for meaning in the moder n world. In the play, Olga, Masha, and Irina are refined and cultured young women in their twenties who were raised in urban Moscow but have been living in a small, colorless provincial town for eleven years. With their father dead, their anticipated return to Moscow comes to represent their hopes for living a good life, while the ordinariness of day-to-day living tightens its hold. First performed in 1901,  The Three Sisters  is a perennial favorite of actors and audiences.The Three Sisters Author Biography Although Anton Pavlovich Chekhov was trained as a physician and practiced as one, he came to dominate not just one field of literature, but two: plays and short stories. He was born in 1860 in Taganrog, a provincial town in the Ukraine area of Russia that was similar to the one described in  The Three Sisters. His family had a small grocery business that went bankrupt, forcing them to move to Moscow in 1876, although Chekhov stayed behind in Taganrog to finish his educatio n. With a scholarship to Moscow University, he studied to be a doctor of medicine, going into practice in 1884.At that time he started publishing short humorous sketches in the Moscow newspapers, though he had no serious artistic aspirations. His writing career became earnest when he moved to St. Petersburg in 1885 and befriended the editor of a literary journal, who recognized his talent and encouraged him. He did write plays, and some of these were produced, but his most memorable work from that period were his short stories, and by late 1880s, he was one of the world's great masters of short story writing. It was in the late 1890s, when Chekhov became associated with the Moscow Art Theatre, that he reached full maturity as a playwright.The theater, under director Constantin Stanislavsky (whose theories about acting method are standard texts for theater students today), producedThe Seagull  in 1896, followed by  Uncle Vanya  (1899),  The Three Sisters(1901) and  The Cher ry Orchard  (1904). Chekhov was very involved in the Moscow Art Theatre's productions of his plays, offering suggestions for the actors and constantly rewriting passages. He courted an actress from the company, Olga Knipper, who played Masha in the original production of  The Three Sisters  (he wrote the part with her in mind); they were married in 1901, just four months after the play opened.During much of their marriage, they were apart, because Chekhov, suffering from tuberculosis since 1884, often went to country retreats for medical treatment. He died of tuberculosis in Yalta in 1904, when he was forty-four years old. Act 1, Part 1 Summary The classic Russian play  The Three Sisters  explores the lives and dreams of three sisters, their brother, their friends and their lovers. The play, like the characters, is moody and atmospheric, gently exploring themes relating to the human capacities for dreaming, inaction in the face of those dreams and despair when those dreams disappear.The first act is set in the drawing room of the home of the Prozoroff sisters, Olga, Masha and Irina. Conversation reveals that they're hosting a party in honor of Irina's Saint's Day. As they wait for their guests to arrive and lunch to be served, Olga recalls in detail the day, exactly a year ago, that their father died. Irina tells her to not think of it. Olga then recalls how the family left Moscow eleven years ago and says that even though it's a beautiful day, she longs to be back there. Tusenbach, Solyony and Chebutykin appear in the dining room, joking about how what is being said is all garbage.Masha whistles quietly to herself as she reads. Olga tells her to stop and says that even though teaching all day gives her headaches and even though she feels her strength draining away, her dreams of – Irina completes her thought, saying that their dreams of going to Moscow are stronger than ever. Chebutykin and Tusenbach laugh as Olga and Irina refer to Masha bei ng the only one who wouldn't be able to go. Irina then talks about how happy she's felt all day, referring to memories of her childhood. Olga talks about how well and happy Irina looks, how lovely Masha is, how their brother Andrei is aining weight and how she herself has gotten older and thinner. She then talks about how being away from the school makes her feel younger and freer. She wishes she'd been married, and she feels she could still be married, saying she'd love her husband. Tusenbach comes in, saying the conversation is nonsense. Tusenbach announces that the sisters will be receiving a visit later that day from their new commander, Vershinin. He describes him as nice but says he talks too much, particularly about his wife and children, and he describes the wife as being half-mad.Solyony comes in, talking to Chebutykin, who ignores him as he makes notes about the components of a medication in a little notebook. Irina goes to him, talking about how happy she is and describin g herself as a little white bird. She has realized that the purpose and happiness of life can be found in hard, physical work. Olga jokes that Irina spends so much time lying in bed thinking, and Irina tells her to think of her as a woman now and not a little girl. Tusenbach talks at length about how he too longs for work.He was born and raised in an aristocratic family, and he feels some kind of storm of change is coming, change that will wipe out laziness, indifference and boredom. He says that in twenty-five years everyone will be working, and Solyony jokes that in twenty-five years Tusenbach will be dead, perhaps even shot by him. Chebutykin talks about how he doesn't really work, saying that since he left university he hasn't read anything but newspapers. A knock is heard, Chebutykin says he's being called downstairs and rushes out.Irina, Tusenbach and Olga talk about how he seems to be up to something, referring to how he always brings Irina extravagant presents. Masha stands and prepares to go, saying she'll be back later and recalling the exciting parties they had when their father was alive. She talks about feeling depressed, and Olga says tearfully that she understands. Solyony jokes about how annoying it is when a woman talks philosophical thoughts, and Masha speaks angrily to them both. Anfisa comes in, followed by Ferapont, who's carrying a large cake. Anfisa announces that the cake came from Protopopov, the Chairman of the District Council.The hard-of-hearing Ferapont can't make out Irina's message of thanks. Olga tells Ferapont and Anfisa to get some lunch in the kitchen, and they go out. Masha says she doesn't like Protopopov, and Irina says he wasn't invited to the party. Chebutykin comes in with a large silver samovar. As the sisters react with embarrassment and Tusenbach laughs, Chebutykin says the girls are all he has in the world. He's an old man, and he loved their mother. Finally, he says that there's nothing wrong with giving expensive presents to people one loves.Act 1, Part 1 Analysis Like most of the full-length plays by this playwright, the dramatic and thematic content of this play is revealed in subtle ways, with its meaning defined by its sense of mood, atmosphere and character. This makes it very different from plays defined by active plots, increasing emotional tension and vivid symbolism. All three elements are present in  The Three Sisters, but they are less relevant to the play's meaning than its overall sense of tone, its gently pointed observations about human nature and its juxtapositions.For example, even though Olga's memories, Irina's dreams and Masha's moods are all very real and very vivid, their true nature is revealed by the repeated comments from the men about conversations being nonsense and garbage. The audience knows perfectly well that they're talking about their own conversations, but because they're carefully juxtaposed with speeches from the sisters, we also know that the playwright is telling us that ultimately, everything the women are saying is nonsense.In other words, their dreams are empty. In spite of the women talking about wanting to go to Moscow, the men are indirectly saying they're never going to get there. As the play continues, we learn why. They're unwilling and/or unable to actually do anything in order to get there. This is the play's central comment about human nature, that extravagant dreams are all well and good but that action must be taken in order to make those dreams reality. Several elements of foreshadowing appear in this scene.These include Solyony's reference to shooting Tusenbach, which foreshadows Tusenbach's death at the end of the play, and also Tusenbach's reference to Vershinin and his family, which foreshadows Vershinin's imminent appearance and the appearance of his family in the sisters' home in Act 3. Other foreshadowing includes the mention of Protopopov, a character who plays an unseen role in the development of the futur e relationship between Andrei and his wife. Two aspects of Russian life play important roles in this scene.The first is the reference to Irina's name day, a celebration of the saint from whom Irina received one of her names. The giving of children the name of a saint is a Russian tradition. The second aspect of Russian life mentioned here is the samovar, a large heated urn in which tea is brewed and served. Because they're usually made of a less expensive metal than silver, Chebutykin's gift is truly extravagant and inappropriate coming from someone who isn't either wealthy or a member of the immediate family. Act 1, Part 2 Summary Anfisa comes in, announcing Vershinin's arrival.As she goes out, urging Irina to behave herself, Vershinin comes in, exclaiming that he's very glad to be there and referring to his memories of having met the sisters when they were little girls. He comments on how time passes. He explains that he knew their father when they were both in Moscow, says he rem embers Masha's face a bit and talks about how he used to visit them all. As Irina and Olga talk about how they'll be back in Moscow by the fall, Masha suddenly recalls Vershinin's visits and how they always used to call him â€Å"the lovesick major† because he was always in love with someone or other.As Vershinin laughs, Masha becomes tearful about how old he now looks. Olga says he doesn't look old at all, and Vershinin says he's only forty-three. He and the sisters talk about which streets they used to live on, with Vershinin recalling a bridge near his home and how â€Å"a lonely man feels sick at heart there. † He quickly changes his mood, talking about the wonderful river running through their small town and how beautiful the climate is. The train station is far away, and nobody knows why. Solyony makes a bad joke, and there is an awkward silence. Then Olga says that she too recalls Vershinin.He says he knew their mother, and Chebutykin talks about how beautiful s he was. Irina mentions that she's buried in Moscow, and Masha says she's starting to forget her face. This leads Vershinin into a long speech about how everyone will be forgotten someday. What's important will one day be insignificant, and their lives will be considered idle. Tusenbach suggests that perhaps their lives will be recalled with respect. Solyony teases him, and Tusenbach asks him to go. When Solyony persists, Tusenbach keeps talking, and Chebutykin jokes about how small people are in general and how small he is in particular.A violin is heard, and the sisters explain that it's being played by Andrei, whom they say is going to be a professor. They also talk about how they've been teasing him for being in love with a local girl, with Masha going on at some length about how vulgar she is and about how she's heard the girl is engaged to Protopopov. She then calls Andrei, who comes in and is introduced to Vershinin. When he hears Vershinin is from Moscow, Andrei jokes that hi s sisters will now never leave him alone. The sisters tease their brother, and he becomes upset.The girls joke that they used to tease Vershinin and that he never minded. Andrei makes them stop, explaining he had an unsettled night and that his lack of sleep has kept him from doing what he really wants to do, translate a book into English. He says their father had high expectations of all his children, and he (Andrei) has gained weight since his father's death as though he's been freed from carrying a heavy load. All the children know several languages, and Andrei refers particularly to Irina knowing Italian. Masha talks about how useless knowing so many languages is.This leads Vershinin to talk at length about how even in their small town, their knowledge will slowly gain influence. Over the years, that influence will grow to the point where the town is populated by people like them. He says that life is meant to be beautiful and that their knowledge is the seed of the beautiful li fe to come. Masha announces she's staying to lunch. Tusenbach starts talking about how that beautiful life must be earned and worked for. Vershinin talks about how beautiful the sisters' home is. Tusenbach tries again to talk about the value of work.Vershinin talks about how he often wonders what would happen if life could be started anew and says that if he had the chance, he'd create a life in which he lived in a house like that of the sisters. Vershinin mentions his wife and daughters and says he wouldn't marry. Act 1, Part 2 Analysis The key element of this section is the introduction of Vershinin and the repeated foreshadowing of his eventual affair with Masha. He and Masha share recollections of each other, and he is also referred to as the lovesick major.His reference to a lonely man, which the audience can easily understand from the context of what he says as a reference to himself, and Masha's sudden change of heart about staying for lunch provide additional foreshadowing. Their relationship is also foreshadowed in Vershinin's comments about wanting to start a new life, something that both he and Masha clearly want to do, as the continuing action of the play reveals. Vershinin's reasons are revealed through his conversation, while Masha's reasons are revealed as the result of the entrance of her husband, who appears at the beginning of the final section of this act.Another piece of foreshadowing is Andrei's reference to Irina's knowledge of Italian, which foreshadows her emotional breakdown later in the play when she laments having forgotten all her Italian. Also, Solyony's continued teasing of Tusenbach continues to foreshadow Tusenbach' eventual death. Finally, the sisters' teasing of Andrei about Natasha foreshadows her entrance and their eventual marriage, while Masha's reference to the rumors about Natasha and Protopopov foreshadow developments later in the play that imply they're having an affair.Vershinin's comments and observations about the f uture can easily be interpreted as some kind of thematic statement. The same point could be made in terms of Tusenbach and Irina's comments about the value of work. They are related to the play's theme, but not in the way they might at first seem. Both men are, in essence, saying that they don't want to live the lives they're living. This state of being, or perhaps non-being might be a better phrase, is also true of the three sisters.Olga and Irina are desperate to live lives in Moscow, and Masha (as we'll see) is equally desperate to live any kind of life as long as it doesn't involve her husband. In short, none of the play's central characters want to live the lives in which they find themselves, a situation that also becomes true of Andrei and Natasha later in the play. The action of the play, such as it is, reveals how these dreams of escape are all futile because, as previously discussed, the characters don't really do anything to bring them to reality. Tusenbach and Irina do g et jobs, and Masha and Vershinin have an affair.However, Irina never does anything to try to get to Moscow, and neither does Olga. By the same token, Vershinin and Masha have their fling, but at the end of the play, they return to life with their respective spouses. Later in the play, the audience also sees how Andrei's dreams of success have evaporated, and he finds himself completely dominated by his wife. Only Natasha, ironically enough, gets everything she wants, but the point here is that she gets it because she works for it, fights for it and doesn't stop until she gets it. She has bad manners. She's pushy, and she's selfish.However, she realizes her dreams. Do the other characters need to be more pushy and more selfish? They may or may not. The dramatic point of the play is not whether selfishness and pushiness are virtues but rather that the characters need to dosomething. The thematic point of the play, therefore, is that all human beings need to work for something. Otherwi se, life will end up as hollow as those of the three sisters and their men. Act 1, Part 3 Summary Kulygin comes in, greets Irina, gives her a little book he wrote detailing the history of the school where he and Olga both teach and introduces himself to Vershinin.Irina tells Kulygin he already gave her a copy of the book. Kulygin takes the book from her and gives it to Vershinin. Vershinin prepares to go, but Olga and Irina insist he join them for lunch. He agrees to stay and goes with Olga into the dining room in the back. Kulygin chatters about the tradition of Sunday rest. He comments on how the rugs should be cleaned, how life must be ordered, how glad he is that Masha loves him, how the curtains should be cleaned and how he and Masha have been invited to join the director of the school for a walk.Masha irritably says she's not going, refusing to explain why. Kulygin talks about his plans to join the director at his home in the evening and comments that the clock is fast. Andrei 's violin is heard as Olga calls everyone in to lunch. As they all go in, Masha sternly tells Chebutykin to not drink. Chebutykin says it's been two years since he was drunk, but Masha says again he shouldn't drink at all. She then complains about having to go to the director's again. Tusenbach and Chebutykin advise her to not go, and she goes into the dining room, complaining about how awful her life is.Solyony teases Tusenbach again. Kulygin drinks a toast to how wonderful Masha is. Vershinin talks about how good he feels being in the house, and they all prepare to sit down to lunch. In the drawing room, Irina comments to Tusenbach on Masha's bad mood, saying she's not happy with Kulygin. Olga calls to Andrei, and he comes in as Irina talks about how uneasy she feels around Solyony. Tusenbach talks about how he feels sorry for Solyony. He's fine when they're alone together, but when they're around people, Solyony becomes crude and bullying.Tusenbach then talks about how much he lo ves Irina, saying his desire for work is bound up with his desire to make a beautiful life for her. Irina tearfully says life isn't beautiful for her or her sisters, saying she feels like grass stifled by weeds. She talks about needing to work, saying she comes from a family that has always despised work. Natasha rushes in, checks herself in a mirror, congratulates Irina and greets Tusenbach. Olga comes in and greets her, commenting that her clothes don't match. Natasha wonders whether it's a kind of omen, but Olga says it just looks odd.She leads Natasha into the dining room as Kulygin toasts a future fiancy for Irina. He and Chebutykin joke about how she's already got a fiancy, and Masha demands a drink. Solyony jokes that the liqueur is made of cockroaches, and Olga invites everyone to come for dinner. Chebutykin jokes about how everyone is made for love, and Andrei loses his temper. Fedotik and Rode arrive. Fedotik takes a lot of pictures, and he offers Irina a toy top. Kulygin jokes about how there are thirteen people at the table, and he says that that means there are lovers there.He jokes that one of them is Chebutykin, who in turn jokes about why Natasha's suddenly embarrassed. Natasha runs into the drawing room, and Andrei runs after her. Natasha says she couldn't help running off, adding that she knows that it's bad manners but just couldn't stay. Andrei comforts her and moves her to a window where they can't be seen. He talks about how wonderful her youth is and how much in love with her he is. Then, he proposes marriage and kisses her. Act 1, Part 3 Analysis The third section of the act develops several key relationships.The first is the romantic triangle involving Vershinin, Masha and Kulygin, whose pedantic boorishness is so vividly portrayed that the audience immediately understands why Masha finds the intelligent and apparently more sensitive Vershinin so attractive. The second is the relationship between Natasha and Andrei, which is something of a mystery. We wonder, as perhaps the three sisters do, why he finds her attractive. The answer might be found in the previously discussed point about Natasha's determination. She may dress badly, but she's got spirit.This is indicated by the way she gets herself away from an uncomfortable situation, as opposed to putting up with it the way that â€Å"ladies† like the three sisters might. The idea is supported later in the play by the way Andrei remains something of a non-entity, with no real career and no personality. In other words, he's attracted to her get up and go, mostly because his own got away. The third relationship developed is that of Tusenbach and Irina. Tusenbach is revealed as a thorough romantic, passionately idealistic in a way none of the characters are. They have dreams and longings, while he has goals and at least a degree of zeal.He believes in his dreams more strongly and actually makes at least some effort to bring them to fruition. He confesses his l ove to Irina and actually gets a job, but like the other characters, he doesn't go all the way. Throughout the play, he seems content to wait for Irina to come to him in the same way as he seems prepared to wait for the future, as opposed to moving directly and determinedly into it. As for Irina, her tearfulness in their conversation suggests that her earlier radiant happiness was actually a mask and that she actually is beginning to despair that her life is never going to be what she dreams.The despair hasn't yet taken over completely. That comes in Act 3, when the world around her is literally destroyed by fire in the same way as her inner, dream-filled world has been destroyed by pointless work, frustrated dreams and the banality of people around her, particularly Natasha. Nevertheless, the seeds of despair are planted in this scene and grow throughout the play. The other key piece of foreshadowing here, aside from the glimpse of Irina's despair, is Masha's reference to Chebutyki n's drinking.This foreshadows his appearance in Act 3, Part 1, in which he refers to having killed a patient after operating on her while drunk. Act 2, Part 1 Summary This act also takes place in the drawing/dining room, some months after the events of Act 1. Natasha comes in, searching to ensure no servants have left any candles burning. She calls to Andrei, who comes in. Conversation reveals that it's Carnival Week. Olga now works at the Teacher's Council office, and Irina works at the telegraph office. Andrei and Natasha now are married and have a child, Bobik, over whom Natasha worries excessively.She tells Andrei she doesn't want the maskers to stop by, saying they'll disturb Bobik's rest. Andrei reminds her they were invited and that the decision is really up to his sisters, who are still mistresses of the house. Natasha says she'll tell them as well and talks about her plans to move Bobik into Irina's room and Irina into Olga's room. After asking why Andrei isn't saying anyth ing, she tells him Ferapont has come with a message from the council. Andrei tells her to tell Ferapont to come in, and Natasha goes. A moment later, Ferapont comes in with some papers and a book.Andrei looks at the papers, commenting as he does about how surprised he is at how life changes. He refers to a book of university lectures he's been reading. He has been named secretary to the council run by Protopopov, and the most he can realistically be now is actually on the council. He still dreams of being a famous lecturer at Moscow University, though. Ferapont comments that he doesn't really hear what Andrei is saying, but Andrei says if he could hear properly, he (Andrei) wouldn't be talking, adding that his wife never listens and that he's afraid his sisters will laugh at them.He reminisces about his days in Moscow, saying that there nobody knows you but you're not a stranger, while here everybody knows him but he's a total stranger. After chatting briefly about whether Ferapont was ever in Moscow, Andrei tells him he can go and then goes back into his own room. Masha and Vershinin come in from another direction, in the middle of a conversation about the bad manners of the people of the town as opposed to the good manners Masha is used to dealing with from her father's fellow soldiers. She also talks about how she married Kulygin when she was eighteen.She was both afraid of him and impressed by him because he was a schoolteacher, but she has since become completely disillusioned. She talks about how miserable she is when she's with his boorish colleagues, leading Vershinin to talk about how everyone in the town, military or otherwise, is as uninteresting as everyone else. He wonders aloud why Russians are such lofty thinkers but live such low, worn out lives. Masha asks why he's unhappy, and he explains that one of his daughters is unwell and that his wife is in a very bad mood.He kisses her hand and apologizes for talking so much, but he says he's got nobo dy in his life other than her. Masha refers to the spooky sound of the wind in the stove, but he goes on talking about how wonderful and beautiful she is and saying how much he loves her. At first she tells him to stop, and then she tells him to keep going. When she sees Irina and Tusenbach coming, she tells him again to stop. As Tusenbach and Irina come in, Tusenbach is talking about how he has a German name but is truly Russian at heart.Irina complains that she's tired, but he doesn't appear to notice, talking about how he'll gladly see her home every night. As he greets Masha and Vershinin, Irina talks about how she was rude to a customer at the telegraph office for no reason, and she asks whether the maskers are coming. Masha confirms that they are, and Irina again says she's tired. Masha jokes that she's starting to look like a boy, and Irina says the mindlessness and soullessness of the work is really starting to get to her. There's a knock on the floor, and Irina understands it to be a signal from Chebutykin, asking if he can come up.She tells Tusenbach to answer and then tells Masha that Chebutykin and Andrei were out gambling again and lost a lot of money. She talks about her continuing dream of going to Moscow, saying she's planning to leave in a few months. Masha comments that Natasha mustn't hear about Andrei's losses, and Irina says it wouldn't matter. Chebutykin comes in and sits at the dining room table. Masha and Irina talk about how he hasn't paid any rent in months. When he calls Irina to join him, she joins him at the table and begins playing solitaire. Act 2, Part 1 AnalysisIn the first part of this section, the audience sees Natasha's previously discussed determination in action as she overrides the wishes of her husband and his sisters about the maskers and makes plans to override their lives even more. In short, she is pursuing what she wants in a way that Andrei has clearly never done. It's also becoming clear that his sisters have neve r done things that way either. The contrast between Natasha and the Prozoroffs is further defined by the way Andrei simply talks about how unhappy he is even while Natasha is acting to improve and/or change her life.Andrei's capacity for, and habit of, talking rather than actually acting is repeated in this section by Irina. It's important to note that even though she talks about leaving for Moscow in a few months, there is no actual evidence that she's doing anything about it. There is no evidence of tickets or packing, and she has no real plans of any kind. The audience sees her being sucked into the same kind of dull, repetitive work that Olga refers to in Act 1 as sapping her of her strength and her will. This is a development in her personality that even Tusenbach's protestations of love and Masha's teasing about her looks seem unable to slow.In contrast to Irina's tiredness, Andrei's dullness and the way they both complain, Masha's flirting with Vershinin stands out as the onl y effort being made by anyone in the Prozoroff family to create desired change in her life. She wants to escape, somehow, from her husband, and she is making carefully modulated overtures to Vershinin so that he will help her get away, whether emotionally, sexually or intellectually. For his part, Vershinin is also making an effort to get out of his misery. His romantic proclamations perform the same unction for him as they do for her, drawing them both out of the lives they can't bear to live and into an existence where there is both excitement and intimacy. As previously discussed, however, they both escape only to a point. Foreshadowing in this scene includes the reference to Protopopov, which foreshadows Natasha's taking a ride with him later in the act, and Irina's despair, which foreshadows her emotional breakdown in the following act. Act 2, Part 2 Summary Vershinin suggests that he, Tusenbach and Masha imagine what life will be like in two hundred years.Tusenbach suggests th at in spite of there being great technological advances, human beings will be exactly the same, complaining about how empty life is and being afraid to die. Vershinin says, as he did in Act 1, Part 2, that life will be very different in two hundred years and that work must begin now to prepare. He adds that there can be no true happiness in the present but there will be in the future, â€Å"for the descendants of [his] descendants. † Fedotik and Rode join Irina and Chebutykin in the dining room as Tusenbach asks what Vershinin would say if Tusenbach claimed to be already happy.Vershinin says he can't be. As Masha laughs quietly, Tusenbach says again life will never change. Birds will migrate the same way, and philosophers will philosophize the same way. Ultimately, he says, life has no meaning. Masha says she believes that life has to have some meaning, or else it's all waste. Vershinin says it's a shame that youth passes, and Tusenbach says it's difficult to argue with them. In the dining room, Chebutykin comments on an article in the paper that he's reading and makes a note in his little book. Tusenbach tells Masha he's resigned from the military.Masha says she doesn't like civilians, and the audience realizes that she's referring back to her earlier conversation with Vershinin, in which she said she prefers soldiers to civilians. Tusenbach talks about how he's looking forward to working hard and joins Irina in the dining room just as Fedotik is giving her some crayons. She complains about how he always treats her like a child, but then she laughs with joy at the pretty colors. The samovar is brought in, and Anfisa pours tea. Solyony comes into the dining room. Natasha also comes in, and several conversations continue at the same time.As Vershinin and Masha talk about the wind, Irina says her game of solitaire will come out, but Fedotik says it won't, joking that it means she won't be going to Moscow. Meanwhile, Chebutykin reads aloud from his newspap er, and Anfisa brings tea to Vershinin and Masha. Natasha chatters to Solyony about how special Bobik is, and Solyony makes a crude joke about how all children should be cooked and eaten. Vershinin tells Masha a story about a prisoner who said he never noticed the beauty of bird song until he was in jail, and who then said once he was released, he went back to not noticing.He says that in the same way, once Masha is in Moscow, she won't notice its beauty, saying again that happiness doesn't exist; we just long for it. Anfisa brings him a note. He reads it and then tells Masha his wife has again tried to commit suicide. He goes out, and Anfisa complains that he hasn't finished his tea. Masha loses her temper and goes into the dining room. Andrei calls for Anfisa, and she goes out to him as Masha messes up Irina's game of solitaire. Irina becomes upset. Chebutykin makes a joke, and Natasha asks why she makes herself look so ugly.She says Irina would be charming if she didn't speak so crudely and that Irina speaks in very bad French. Tusenbach and the others can barely restrain their laughter. Natasha again becomes embarrassed and goes out. Irina asks where Vershinin went. Masha explains that something happened with his wife as Tusenbach goes to Solyony, offers him a drink and offers to make peace and be friends. Solyony says there's no need to make peace, saying there's no quarrel. He goes on to say he's fine when he's alone with someone, but when he's with large groups of people, he can't help behaving strangely.He also says he doesn't dislike Tusenbach and that he makes the comments he does just because he's moody. Andrei comes in, sitting quietly with his book of lectures as Tusenbach tells Solyony he's resigning from the military. Solyony tells him to give up on his dreams and then interrupts as Chebutykin and Irina pass by, talking about the ingredients of a stew. Solyony says Chebutykin has the name of one of the ingredients wrong. He and Solyony argue, an d Andrei asks them to be quiet. Tusenbach asks when the maskers are coming, and Irina says they'll be there soon.Chebutykin and Tusenbach sing and dance in the way the maskers would. Tusenbach then promises to go to the university with Andrei, leading to an argument with Solyony about how many universities there are. After insisting there are two and being ignored, Solyony leaves the room. Tusenbach applauds his leaving and then sits at a piano and plays. As Masha sings and dances by herself, Natasha has a quiet word with Chebutykin and then goes out. Chebutykin then whispers to Tusenbach, who stops playing. Chebutykin tells Irina they need to go.Irina asks why they aren't staying for the maskers, and Andrei sheepishly confesses that the maskers aren't coming because Natasha doesn't want them around when Bobik's not well. Masha suggests it's Natasha who's not well, in the head. Andrei goes out, and Chebutykin follows him. Fedotik and Rode say their farewells and go, and Masha and Ir ina follow them to the door. Act 2, Part 2 Analysis In the same way as the comments of Vershinin, Tusenbach and Irina in Act 1, Part 2 might be interpreted as making thematic statements, comments made by several characters in this scene might be interpreted the same way.These include Vershinin's comments that life will change, Tusenbach' comments that life will never change and is ultimately meaningless, Masha's comments that life must have meaning and Vershinin' story about the prisoner and the birds. The point must be made, however, that philosophical comments made by characters aren't necessarily the philosophical comments of the play. In fact, the point made by all these philosophical conversations is related to the point made earlier – that these characters are talkers rather than doers, intellectuals and dreamers as opposed to actual participants in life.It's true that they participate to a point. Tusenbach resigns from the military, and Vershinin and Masha seduce each other. In general, though, their efforts are pretty minimal. They don't really want to make a change, an idea born out by the way Irina at first resents being treated like a child by Fedotik and then turns around and reacts with very childlike happiness at his little gift. Later in this act, the audience sees again how Natasha is a very different character, doing exactly what she wants and not really thinking at all.Other than the philosophies of the various characters, what's particularly noteworthy about this section of the act is its busyness. Many things seem to be going on at the same time. Aside from creating an effectively realistic portrayal of what happens with large parties – as smaller parties form and individuals move from group to group – the sequence gives a clear sense of the kind of lives these characters live. The audience experiences them becoming involved in petty arguments and minor joys, in discussions about large subjects that actually perform the trivial unction of killing time and in spontaneous music and dancing that is actually an expression of frustration and loneliness. What they're doing is actually important because they're all just waiting, and not just for the maskers. The maskers, in fact, are a symbol of what they're truly waiting for – the future, the chance to feel and hearing someone to say something loving to them. It's no coincidence, therefore, that the maskers come but are sent away. This represents the way the future comes but isn't being faced head on by anyone but Natasha, who faces both the maskers and the future with equal determination.It's this sense of a lack of importance to life, this sense of futility in her activities and those of the people around her, that leads Irina to her moment of climactic frustration at the end of the act and contributes to her emotional breakdown in Act 3. Act 2, Part 3 Summary Chebutykin and Andrei come back in, dressed to go out. Chebutykin talks about how he never married because he never had time and because he was in love with Andrei's mother. Andrei says marriage is boring, but Chebutykin says it's worse to be lonely. Andrei urges him to hurry, saying he's afraid Natasha will stop them.The audience understands that the two of them are going out gambling again. As they go out, Andrei asks Chebutykin what he should do about his shortness of breath. Chebutykin says he doesn't know, adding that he's forgotten everything about being a doctor. After Andrei and Chebutykin are gone, laughter is heard from outside. Irina and Anfisa come in from separate entrances, and Irina says the maskers must be sent away. As Anfisa goes out, Solyony comes in, apologizing for his behavior and saying he deeply loves Irina. Even though she tells him to leave her alone, he talks about how beautiful she is.Finally, her anger gets through to him. He says that even though he's professing noble emotions, it's as though he's not in the room and promises to kill an y rival for her love. He repeats that he loves her. Natasha passes through wearing her dressing gown and becoming embarrassed when she sees Solyony. Solyony goes out, and Natasha comments on how tired Irina looks, suggesting that Irina think about moving in with Olga so that Bobik can have her room. Irina doesn't seem to be listening. A maid comes in and tells Natasha that Protopopov has come to take her for a ride in his carriage.She laughs about how silly men are and tells the maid to tell Protopopov she's coming. She goes out to get ready as Kulygin and Vershinin come in, wondering what happened to the party, looking for Masha and asking why Protopopov is downstairs. Olga also comes in, complaining about how her head aches and talking about how much money Andrei has lost in gambling. Vershinin says his wife is all right. In passing, he mentions the possibility that his regiment will be ordered to leave and asks Kulygin to go out somewhere with him because he can't bear to go home .Kulygin at first says he doesn't want to go but then says he needs to leave, disappointed at the party not happening. He goes out, followed by Vershinin. Olga talks again about her headache. She says the whole town is gossiping about Andrei and she's looking forward to her day off, and then she goes out. Irina comments that everyone has gone. Natasha passes through on her way out, telling her maid she'll be back in half an hour. After she's gone, Irina says to herself, â€Å"To Moscow! To Moscow! To Moscow! † Act 2, Part 3 Analysis Once again in this section the audience sees the characters filling in time.Specifically, Chebutykin and Andrei fill the emptiness and loneliness of their lives with gambling. In their conversation, we also understand for the first time a little more of why Chebutykin is so devoted to the family, and particularly to Irina. His love for them is an outlet for the love he felt for their mother. Love also appears, much more surprisingly, in the conver sation between Solyony and Irina. Up to this point, Solyony might easily have been perceived as being eccentric and angry, but essentially harmless and just a little irritating.At this point, however, he is easily among the most passionate and deeply feeling characters in the play. Unlike the longings of many of the others, which are expressed in terms that come across as either watery or intellectual, Solyony's passion comes across as deeply felt and almost dangerously intense. The fact that Natasha interrupts his conversation with Irina is no coincidence. Natasha and Solyony are both ruthless in their pursuit of what they want and dream of. The fact that Solyony doesn't actually get it is irrelevant.He feels strongly enough to say he'll kill, and he will actually follow through in a way that few of the other characters follow through on their dreams. Irina's crying out for Moscow is a response to everything she's experienced in this act, her fatigue and disillusionment in Part 1, the relative emptiness of the lives lived (including her own) in Part 2 and her distaste for Solyony in this section. She is clearly in despair and sees escape to Moscow as her only hope. Later in the play, however, it becomes clear that she will never actually go.She gets more and more frustrated and disillusioned, but she never, ever goes. The question of why not is answered by the previously discussed idea that she, like so many other characters in the play, is a thinker and dreamer, not a doer. Making her dreams come true is perhaps too hard for her, or maybe she doesn't really know how, her mind having been filled with several languages at the expense of practicality, determination and coping skills. Whatever the reason, her final words represent the present despair felt by Olga, Vershinin, Masha, Solyony and Andrei, and the deeper despair to come for all of them.In fact, in the cries of this idealistic young woman, the audience can hear the cry of every human being that hopes his or her dreams will once, just once, come true. Conversely, in her lack of action we see how the choices of every human being determine whether that actually happens. Act 3, Part 1 Summary The third act is set in what has become Olga and Irina's bedroom, at around three in the morning. Fire alarms ring offstage. Masha lies on a sofa as Olga and Anfisa enter, and conversation reveals that there has been a major fire in the town.As Olga goes through her clothes looking for things she can give to the fire's victims, Anfisa talks about two little girls downstairs, imagining that their father has been killed. Olga comments that Vershinin's house has been almost completely destroyed and that Fedotik's home has burned to the ground. She calls for help with the clothes, and a moment later Ferapont comes in and takes out an armful, commenting as he goes on a fire in Moscow that he survived. After he's gone, Olga tiredly tells Anfisa to give everything away, makes arrangements for the Vers hinin family to sleep there and comments that Chebutykin has gotten very drunk.Anfisa worries that there are plans being made to send her away, but Olga reassures her and tells her to sit and rest. Natasha comes in chattering about how a society for the relief of those left homeless should be formed. Conversation reveals that she's had another child, Sophie, and that Natasha is worried about her catching influenza from one of the many strangers in the house. She looks at herself in the mirror and compliments herself on how well she's kept her figure, and then she shouts at Anfisa for sitting down when she's in the room.Anfisa goes out. Natasha complains to Olga that Anfisa is useless and then comments on how tired Olga looks. Conversation reveals that there's an election coming up for the position of headmistress at the school. Natasha is convinced Olga will get it, and Olga doesn't want it. Olga tells Natasha she was too rude to Anfisa. Natasha apologizes, and Masha goes out, angry at being disturbed. Olga tells Natasha that rude language upsets her, and Natasha again apologizes. Then, she says Anfisa really should be living in the country because she doesn't really work.As the fire alarm bell rings again, Natasha talks at length about how she's running the house while Olga is working at the school. She calls Anfisa names, loses her temper and says that by the next day Anfisa will be gone. As Natasha goes out, Kulygin comes in looking for Masha. Conversation reveals that only one section of town has been destroyed. Kulygin mentions that if he hadn't married Masha he'd have wanted to marry Olga. In a moment of quiet they hear Chebutykin coming, comment on how drunk he is and then hide themselves so that they don't embarrass him.A moment later Chebutykin comes in and washes his hands as he speaks to himself about how he remembers nothing about being a doctor, recalling a patient he was treating recently who died. Olga slips out of the room as Chebutykin looks a t himself in a mirror and wonders whether he's really a man anymore and whether he truly exists. He starts weeping as he wishes he didn't exist. He recalls a conversation at his club during which people were talking about well known writers. He didn't know any of them but pretended he did. He talks about the banality of life and again recalls the patient he killed.Irina, Vershinin and Tusenbach come in, with Tusenbach wearing new and stylish civilian clothes. Vershinin talks about how much of the town was saved because of the efforts of the soldiers, and Irina refers to how many of them, including Solyony, are sitting in the dining room. She also tells Chebutykin to go to bed. Chebutykin says he's all right, and Kulygin comes forward and jokes about how drunk he is. Tusenbach talks about being asked to produce a benefit concert for the refugees from the fire. He suggests that Masha should play the piano as part of it, but Irina says she's forgotten how to play.Kulygin talks about ho w much he loves Masha but says the director of the school might not think her participation is appropriate. Chebutykin picks up a small china clock and studies it as Vershinin mentions that he's heard rumors their brigade is being transferred. Tusenbach says that when they go the town will be empty, but Irina says it won't matter since they're going to Moscow. Chebutykin drops the clock, and it shatters. As Irina says the clock belonged to her mother, Chebutykin suggests philosophically that perhaps it didn't really exist and that nobody really exists.He wonders why people are staring at him, shouts that Natasha is having an affair with Protopopov and nobody knows or cares and then goes out. After commenting on how strange the situation is, Vershinin tells how he ran home when the fire started. He found his wife missing and his little girls terrified and wondered how much more they'd have to suffer. He grabbed them and ran and then discovered his wife at the Prozoroff house. Masha c omes back in and lies down as Vershinin continues, comparing the fire with what happens when enemies at war make sudden raids on each other.He then refers again to his idea that in a few hundred years people will look back on the life they're leading and laugh, and he says again that Irina and her sisters are in the forefront of the process of transformation. He begins to sing. Masha joins in, and Fedotik rushes in, laughing strangely at how everything he owns has been destroyed. Solyony follows, and Irina tells him to go away. Solyony complains about how Tusenbach can come in while he can't, while Vershinin and Masha continue to sing. Solyony makes fun of Tusenbach, and then he, Vershinin and Fedotik go out. Act 3, Part 1 AnalysisAs previously discussed in the analysis of Act 1, Part 3, the destruction caused by the fire represents the destruction of the dreams and hopes of those who continue to have them: the Prozoroff sisters, Tusenbach, Vershinin, Andrei and, to an extent, even Solyony. Those dreams aren't completely destroyed quite yet. Irina still dreams of going to Moscow, and Vershinin and Masha are continuing to flirt with each other, presumably still in the hope that their relationship will alleviate their unhappiness. Also, Solyony is clearly still drawn to Irina, and Tusenbach still has dreams of fulfillment in work and of happiness with Irina.Only Andrei, as will become clear in the second part of this act, has no dreams left at all. Even though the dreams of the others remain, there is the powerful sense in this scene that the destruction of those dreams is both imminent and inevitable, a sense conveyed not only by the fire but also by several other factors. The first factor conveying the hopelessness of the characters' dreams is Natasha's reference to Olga becoming headmistress, which is particularly noteworthy because Natasha seems determined Olga will get the job.The audience has seen what happens when Natasha is determined about something. Th e second factor is the appearance of Chebutykin, which functions on several levels. His drunken musings on his loss of identity represent the way that Irina and the others, who define their identities by their dreams, will lose their identities once their dreams fade away in the same way as Chebutykin's knowledge, which has defined his identity as a doctor. Another level of symbolism in this scene can be found in his accidental destruction of the clock.Because of its association with the Prozoroffs' mother, the woman Chebutykin loved and dreamed of marrying, its destruction symbolizes the destruction of his dreams of happiness and, therefore, symbolizes the destruction of the dreams of the others. Several characters seem to take the fire and its destructive consequences in their stride. This is perhaps because their dreams and goals are being fulfilled (Natasha), because they don't have dreams for a life beyond their own (Kulygin) or because their dreams are so relatively insignific ant to them that their destruction doesn't really matter (Fedotik).For those who continue to dream of a transformed life and continue to have those dreams unfulfilled, the physical devastation caused by the fire and the emotional devastation of its victims clearly and vividly foreshadow the spiritual devastation the many dreamers in this play are about to encounter. Are the characters aware of this connection? It seems as though on a subconscious, spiritual level, they just might be. This is another example of the way meaning in this play can be defined by subtext and juxtaposition, as opposed to overt action and direct comment or revelation by the characters.One final piece of foreshadowing occurs in Vershinin' passing mention of the rumor that he and his brigade are going to be transferred. This is the second time such a rumor has been mentioned, the first being in Act 2, Part 3. The first time the transfer never actually comes to pass, but in Act 4, this time the rumors will prov e to be true. Act 3, Part 2 Summary Irina discovers Tusenbach has fallen asleep. As he wakes, he talks briefly about how he's soon to start a new job at a brickyard. He then talks about how beautiful Irina is, his hopes for living and working with her and his memories of how happy she was on her Name Day (in Act 1).He comments that morning has begun and muses romantically about giving his life for her. As he talks, Masha repeatedly tells him to go out, and finally he does. She also suggests that Kulygin should go home. He repeatedly tells her how much he loves her and how content and happy he is, but Masha talks about how bored she is. She also talks angrily about how much debt Andrei is in and how he's allowing Natasha to control money and property that by rights should be controlled by Andrei and the sisters. Kulygin tells her it doesn't really matter, talking about how he prefers a simple life.Masha tells him justice is important to her and then tells him again to go away. He tal ks again about how much he loves Masha, repeating that he's content, and goes. Irina talks with increasing emotion about how Andrei has changed because of Natasha. His dreams have disappeared, and the whole town is laughing behind his back because of the affair with Protopopov. He just sits in his room and plays violin while the whole town is out fighting the fire. As Olga comes in, Irina begins to weep, saying she can't stand her life. She can't remember anything of her Italian, and she says that they'll never get to Moscow and that she hates her job.She's becoming unattractive and feels no satisfaction or happiness. She also talks about how she feels herself moving away from any kind of beautiful life and towards an abyss of unhappiness, saying she can't understand why she hasn't killed herself. Olga comforts her, suggesting that she marry Tusenbach and talking about h

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