Jurij Alschitz - 40 Questions of One Role

Conflicts may be categorised into conflicts of time – the past, the present and the future. For example, it can be said with certainty that it is a conflict of the past if it developed long ago and only its resonances can be heard in the play, like the echo of passing thunder.

A conflict of the present is when it arises now, at this minute. In this case your attention should be focussed on the process of how the conflict develops, how it flares up and how it ends.

In the role and in the scene you can see and analyse the origin of a new conflict – a conflict of the future, the results of which will only take on form and lead to certain consequences only in the future. This kind of conflict always gives the role a certain tension towards the finale when, although everything seems finished, it is still clear that it is not over with and there is still a great deal that will happen. For example, at the end of Chekhov’s play The Three Sisters we hear that it is just the beginning.

Some conflicts could be called potential. They are still unknown to the personnages themselves, neither are they set by them, but the actor finds them, defines them and can use them as the basis for creating the role. It can happen that it is they who to a great extent define its character and the direction it takes. Such conflicts are generally never resolved within the framework of the play, but their definition gives the entire role or a part of it yet another source of energy.

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