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. |
From inside the book
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... audience. There is also the risk that, if we're hiding from ourselves, we're not really able to make good contact with our fellow performers or the deeper sources of our creativity. In other words, we avoid the challenges to developing ...
... audience. There is also the risk that, if we're hiding from ourselves, we're not really able to make good contact with our fellow performers or the deeper sources of our creativity. In other words, we avoid the challenges to developing ...
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... audience of relatives and friends . It was in The Wreck of the ' Good Hope ' that Chekhov first drew critical attention , when he transformed the minor role of Kobe from a stereotypical ' idiot fisherman ' into a ' sincere and morbid ...
... audience of relatives and friends . It was in The Wreck of the ' Good Hope ' that Chekhov first drew critical attention , when he transformed the minor role of Kobe from a stereotypical ' idiot fisherman ' into a ' sincere and morbid ...
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... audiences got the opportunity to compare and contrast the performances of the two most exciting young actors of the Studio in the same role (Malaev-Babel, 2011: 43). Chekhov's ... audience laugh most during any particular performance.
... audiences got the opportunity to compare and contrast the performances of the two most exciting young actors of the Studio in the same role (Malaev-Babel, 2011: 43). Chekhov's ... audience laugh most during any particular performance.
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... audience . There is a distinction here between the humour which enables us to represent even the most serious subjects with a light touch , assisting us in going deeper into them , and laughter which undermines the whole process of the ...
... audience . There is a distinction here between the humour which enables us to represent even the most serious subjects with a light touch , assisting us in going deeper into them , and laughter which undermines the whole process of the ...
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... audience's perspective on the play in performance ; and ( 4 ) it brought a sense of detachment , compassion and humour into the actor's work by conferring freedom from the ' narrow , selfish ego ' ( Chekhov , 1991 : 24 ) . Chekhov also ...
... audience's perspective on the play in performance ; and ( 4 ) it brought a sense of detachment , compassion and humour into the actor's work by conferring freedom from the ' narrow , selfish ego ' ( Chekhov , 1991 : 24 ) . Chekhov also ...
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