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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... DIRECTOR Choosing the focus The Possessed ( 1939 ) Twelfth Night ( 1940 ) Pickwick Some thoughts on the rehearsal process 4 PRACTICAL EXERCISES Introduction Crossing the Threshold Making contact Confidence Concentration Significance The.
... DIRECTOR Choosing the focus The Possessed ( 1939 ) Twelfth Night ( 1940 ) Pickwick Some thoughts on the rehearsal process 4 PRACTICAL EXERCISES Introduction Crossing the Threshold Making contact Confidence Concentration Significance The.
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... Possessed (October 1939): Hurd Hatfield as Kirilov 3.2 The Possessed (October 1939): John Flynn as Stavrogin and Ellen van Volkenburg as Mrs Stavrogin 3.3 The Possessed (October 1939): Woodrow Chambliss as Verkhovensky and John Flynn as ...
... Possessed (October 1939): Hurd Hatfield as Kirilov 3.2 The Possessed (October 1939): John Flynn as Stavrogin and Ellen van Volkenburg as Mrs Stavrogin 3.3 The Possessed (October 1939): Woodrow Chambliss as Verkhovensky and John Flynn as ...
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... possessed, which gave much delight to his son, was the ability to draw cartoons and capture the essence of a person's character in a few lines (Chekhov, 2005: 21). Michael considered that his own love of cartoons had an important effect ...
... possessed, which gave much delight to his son, was the ability to draw cartoons and capture the essence of a person's character in a few lines (Chekhov, 2005: 21). Michael considered that his own love of cartoons had an important effect ...
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... possessed of an ethical sense which enabled the actor to feel the conflict between ' good ' and ' evil ' in the play ; ( 3 ) it enabled a sensitivity to the audience's perspective on the play in performance ; and ( 4 ) it brought a ...
... possessed of an ethical sense which enabled the actor to feel the conflict between ' good ' and ' evil ' in the play ; ( 3 ) it enabled a sensitivity to the audience's perspective on the play in performance ; and ( 4 ) it brought a ...
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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