TOSKA the story of three sisters

45 minutes is given to the viewer to understand the years of suffering and pain the three sisters have faced. And the aftermath of them ending the abuse that they suffered in silence.

This post may contain mature or challenging content.

TOSKA the story of three sisters

Based on the true story that occurred in 2018 in Russia, Toska, a piece written by Elizabeth Huskisson, tells the story of three sisters abused by their father who they murder and end up on trial. This performance is powerful not needing much words to express the different emotions that haunt the characters. 

Part 1 is the abuse where the sisters dressed in colourful nightgowns show that they are children. Biting their nails while smiling, the actress moves from childish to the victim quickly. Movements are sporadic and hectic, repeating their dances over and over. It’s messy to watch when one realises what exactly their dances show. Rubbing the cheek over and over as if slapped, staggering as if punched, strangled by the blanket and their heads bouncing on the table up and down as if someone shoved their heads down. 

The use of a projector and music is clever. Using snippets of a male Russian voice to signify the father’s presence, images of a kitchen when they are sat down neatly waiting for the father. It showcases the story and the abuse without taking the spotlight off the sisters. 

They have a blanket they use as a table and to hide under. When the actress throws the blanket up and set it to the ground it reminds one of a parachute game played by children. You hold the edges of a long material and still holding, you throw it up creating a structure-like shape where one runs under it. A roof is created where children can run and play with the safety of someone handling the fabric outside. The sisters, hold the edges for one another and hide under the sinking blanket until they are covered. No safety outside.

Come part 2 the murder and that blanket is now covered in blood. They dance and play as children but slowly the girls realise that they can’t live like this forever. The dance ends with one sister sitting and the second following. The third is nervous and unwilling to end her childhood and admit that the abuse has only one way to end. Her dances slow down and the murder begins. They dance sporadic and hectic once more. Elbows to knees a repeated motion and symbolises stabbing their father. 

It’s beautiful and haunting at the same time. Added by the minimal dialogue both in English and Russian, the choreography says everything we need to know. At points, the sisters are in sync with their movements but the nerves and fears make them all over the place, losing that sync. 

The minimal set of just three boxes which they stand on provides all the space needed for the sisters to go crazy. The audience can’t look elsewhere but at the actress who shines with their dances and facial expressions. 

Part 3 shows us the aftermath where coloured nightgowns are gone and black and white blazers are worn. They are in prison and nail biting is no longer a childish action. It’s nerves and fear of what's to happen. The dance at first in sync, a denial that they would be kept apart. They hold onto their nightgowns, holding them up to their chest and pretending to be children. And their dances turn rapid, crazy and horrifying. They can’t be with one another and terror shows on their faces.

The play ends with the projector coming alive, music fast, showing what was happening at the time of the trial in 2018. The sisters are still on trial today.

Header Image Credit: Sort Sol

Author

Ayah Khan

Ayah Khan Voice Reviewer

Ayah is a physical geography graduate, currently studying international journalism masters. Her main interest is environmental journalism but she wants to deep dive into lifestyle type content and enjoy the lightheartedness that comes with it, especially if said content could be focused on zombies. She spends her free time reading and writing. And can’t wait to explore different forms of content writing!

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