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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... stage there was no sense that Chekhov would become an actor and he thought that he would become a doctor or a fireman . Later , as he began to perform extracts from Charles Dickens and other authors , with some of his own material ...
... stage there was no sense that Chekhov would become an actor and he thought that he would become a doctor or a fireman . Later , as he began to perform extracts from Charles Dickens and other authors , with some of his own material ...
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... 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 wanted actors to become creative artists in ...
... 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 wanted actors to become creative artists in ...
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... stage . This sense of humour is , however , to be distinguished from the uncontrolled need to laugh at any ... stage . He criticised the attempt to merely imitate the physiological processes of dying on stage , because , as we have ...
... stage . This sense of humour is , however , to be distinguished from the uncontrolled need to laugh at any ... stage . He criticised the attempt to merely imitate the physiological processes of dying on stage , because , as we have ...
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... stage them. Craig suggested that, while we might feel the presence of the ghosts when we read the plays, we feel nothing when they appear on the stage. Whatever the stage technology used – lighting or winches – he felt that the ghosts ...
... stage them. Craig suggested that, while we might feel the presence of the ghosts when we read the plays, we feel nothing when they appear on the stage. Whatever the stage technology used – lighting or winches – he felt that the ghosts ...
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... stage space , nor have they learned to ' draw figures and lines ' with their bodies ' in stage space ' . He identifies that actors have an impulse to use the space and that this manifests itself in the need to make the occasional ...
... stage space , nor have they learned to ' draw figures and lines ' with their bodies ' in stage space ' . He identifies that actors have an impulse to use the space and that this manifests itself in the need to make the occasional ...
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