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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... What does Chekhov mean by the statement that Glagolin played 'not like everyone else'? In one sense, it is obvious. Any actor necessarily brings personal difference to a role and Mel Gibson's Hamlet is very different from Ethan Hawke's ...
... What does Chekhov mean by the statement that Glagolin played 'not like everyone else'? In one sense, it is obvious. Any actor necessarily brings personal difference to a role and Mel Gibson's Hamlet is very different from Ethan Hawke's ...
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... what to do. He caricatures such actors as believing that study would only stifle their spontaneity. On the other hand, Chekhov only came to this realisation in the 1920s and criticises himself for putting too much emphasis on his own ...
... what to do. He caricatures such actors as believing that study would only stifle their spontaneity. On the other hand, Chekhov only came to this realisation in the 1920s and criticises himself for putting too much emphasis on his own ...
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... what the playwright had intended , Chekhov asserted his creative individuality , claiming that he had found the ' true ' character by going beyond both text and author ( Gordon , 1985 : 13 ) . Boleslavsky's production was followed by ...
... what the playwright had intended , Chekhov asserted his creative individuality , claiming that he had found the ' true ' character by going beyond both text and author ( Gordon , 1985 : 13 ) . Boleslavsky's production was followed by ...
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... ( what we call ' corpsing ' ) . He came to regard this as an insult to 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 ...
... ( what we call ' corpsing ' ) . He came to regard this as an insult to 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 ...
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... what does the character feel ' – and that this would enable the actor to transform into the character rather than reducing the character to the personality of the actor . Chekhov gives a very good example of what he means by this . In a ...
... what does the character feel ' – and that this would enable the actor to transform into the character rather than reducing the character to the personality of the actor . Chekhov gives a very good example of what he means by this . In a ...
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