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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... Imagination and the incorporation of images Improvisation and ensemble Atmosphere and individual feelings The Psychological Gesture Character and characterisation The higher self and creative individuality Conclusion 3 CHEKHOV AS ...
... Imagination and the incorporation of images Improvisation and ensemble Atmosphere and individual feelings The Psychological Gesture Character and characterisation The higher self and creative individuality Conclusion 3 CHEKHOV AS ...
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... Imagination Centres Archetypes Imaginary bodies Objectives and the Psychological Gesture Ensemble and group sculptures Rehearsal AFTERWORD : COMING UP TO DATE The first fifty years The field begins to expand ( 2004-2009 ) Towards the ...
... Imagination Centres Archetypes Imaginary bodies Objectives and the Psychological Gesture Ensemble and group sculptures Rehearsal AFTERWORD : COMING UP TO DATE The first fifty years The field begins to expand ( 2004-2009 ) Towards the ...
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... imagination rather than everyday 'outer' reality. Requires a stylised approach to staging/acting. Vsevolod Meyerhold ... imaginative explorations were to lead him beyond symbolism to a rhythmical physical theatre. Maurice Maeterlinck ...
... imagination rather than everyday 'outer' reality. Requires a stylised approach to staging/acting. Vsevolod Meyerhold ... imaginative explorations were to lead him beyond symbolism to a rhythmical physical theatre. Maurice Maeterlinck ...
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... imagination to replace imitation on the stage and felt that the theatre should have more in common with a dream than a representation of everyday life . Although Craig is often represented as someone who was opposed to actors , he ...
... imagination to replace imitation on the stage and felt that the theatre should have more in common with a dream than a representation of everyday life . Although Craig is often represented as someone who was opposed to actors , he ...
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... imagination , communication and affective memory . Chekhov was eventually to reject Stanislavsky's emphasis on memory , but the other aspects of the Studio's work were to find a place in his own method , although somewhat transformed ...
... imagination , communication and affective memory . Chekhov was eventually to reject Stanislavsky's emphasis on memory , but the other aspects of the Studio's work were to find a place in his own method , although somewhat transformed ...
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