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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... individual feelings The Psychological Gesture Character and characterisation The higher self and creative individuality Conclusion 3 CHEKHOV AS DIRECTOR Choosing the focus The Possessed ( 1939 ) Twelfth Night ( 1940 ) Pickwick Some ...
... individual feelings The Psychological Gesture Character and characterisation The higher self and creative individuality Conclusion 3 CHEKHOV AS DIRECTOR Choosing the focus The Possessed ( 1939 ) Twelfth Night ( 1940 ) Pickwick Some ...
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... creative individuality' as his answer. One of the aspects of creative individuality is a sense of creative freedom and Chekhov was also interested in the freedom with which Glagolin played. Chekhov found Glagolin interesting, because ...
... creative individuality' as his answer. One of the aspects of creative individuality is a sense of creative freedom and Chekhov was also interested in the freedom with which Glagolin played. Chekhov found Glagolin interesting, because ...
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... Art of the Theatre and he would have had some insight into Craig's aims ... creative art . By the time Michael Chekhov joined the MAT , Stanislavsky was ... individuality , claiming that he had found the ' true ' character by going ...
... Art of the Theatre and he would have had some insight into Craig's aims ... creative art . By the time Michael Chekhov joined the MAT , Stanislavsky was ... individuality , claiming that he had found the ' true ' character by going ...
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... Art ( 1912 ) . Steiner , like others before him , drew a distinction between ... creative processes ' ( Chekhov , 1991 : 16 ) and believed it was the key to ... individuality ' , which explained why different actors played the same role ...
... Art ( 1912 ) . Steiner , like others before him , drew a distinction between ... creative processes ' ( Chekhov , 1991 : 16 ) and believed it was the key to ... individuality ' , which explained why different actors played the same role ...
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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