Michael ChekhovRoutledge, 2018 M09 21 - 190 pages Following in the footsteps of his renowned teacher Konstantin Stanislavsky, Michael Chekhov’s work as an actor, author and theatre practitioner gave great insight into how to access the creative self. This revised and updated edition of Michael Chekhov includes: • A biographical introduction to Chekhov’s life • A clear explanation of his key writings • An analysis of his work as a director • A practical guide to Chekhov’s unique actor-training exercises. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for today’s student. |
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... wants to get a grip on the big names in performance from the past hundred years . ' - Total Theatre Routledge Performance Practitioners is an innovative series of introductory handbooks on key figures in contemporary performance ...
... wants to get a grip on the big names in performance from the past hundred years . ' - Total Theatre Routledge Performance Practitioners is an innovative series of introductory handbooks on key figures in contemporary performance ...
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... he was invited to do his audition speech , his collar suddenly snapped and the edges bit into his cheek . Not surprisingly he was embarrassed and wanted to run away , but froze ( Chekhov , 2005 : 45 ) . After a few moments , he realised ...
... he was invited to do his audition speech , his collar suddenly snapped and the edges bit into his cheek . Not surprisingly he was embarrassed and wanted to run away , but froze ( Chekhov , 2005 : 45 ) . After a few moments , he realised ...
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... he wanted actors to become creative artists in their own right and felt that Stanislavsky didn't give actors sufficient freedom to improvise ( Innes , 1998 : 49 ) . Chekhov barely mentions Craig in his writings , but he almost certainly ...
... he wanted actors to become creative artists in their own right and felt that Stanislavsky didn't give actors sufficient freedom to improvise ( Innes , 1998 : 49 ) . Chekhov barely mentions Craig in his writings , but he almost certainly ...
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... Chekhov describes his own state of mind , but also indicates a familiar attitude among young actors who just want to act and do their part and not really be involved in all of the other work that is necessary for the staging of a ...
... Chekhov describes his own state of mind , but also indicates a familiar attitude among young actors who just want to act and do their part and not really be involved in all of the other work that is necessary for the staging of a ...
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Franc Chamberlain. Chekhov. and. Vakhtangov. In The Deluge, Chekhov and ... Chekhov's performance was criticised in some quarters for being too grotesquely physical ... wanted him to do. The monkey was to do most things on all fours. If the ...
Franc Chamberlain. Chekhov. and. Vakhtangov. In The Deluge, Chekhov and ... Chekhov's performance was criticised in some quarters for being too grotesquely physical ... wanted him to do. The monkey was to do most things on all fours. If the ...
Contents
WRITINGS ON THE TECHNIQUE OF ACTING | |
CHEKHOV AS DIRECTOR | |
PRACTICAL EXERCISES | |
COMING UP TO DATE | |
Bibliography | |
Index | |
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Common terms and phrases
action actor anthroposophy Anton Chekhov approach archetypal artistic atmosphere audience aware Bardell Beatrice Straight begin Broadway centre character character's Chekhov suggests Chekhov technique Chekhov wants Craig creative individuality critics Dartington Deirdre Hurst develop director Dorothy Elmhirst dream emotion memory ensemble Erik XIV eurythmy everyday example exercises experience explore feeling of ease film going Hamlet higher ego Hollywood humour Hurd Hatfield Hurst du Prey imaginary body imagination improvisation Jack Colvin Joanna Merlin keep a sense kind Lee Strasberg legato Mala Powers Meyerhold Michael Chekhov Moscow Art Theatre move movement notice objective Olga Chekhova ourselves pause pay attention performance person physical Pickwick play Possessed production Psychological Gesture qualities radiating rehearsal Ridgefield role Romeo Routledge Russian scene sense of contact Shdanoff socialist realism space staccato stage Stanislavsky Steiner Studio style teacher Technique of Acting transform Twelfth Night Vakhtangov Verkhovensky whole body