794 research outputs found
Michail Aleksandrovic Cechov (Michael Chekhov)
No full textDokumente zu und von Michail Aleksandrovič Čechov (Michael Chekhov
Practice Research: Master Classes and Research Presentations on Michael Chekhov Technique for Professional Directors (2013-2016)
No full textThese three related outputs combined shared archival research (Chekhov Theatre Studio, Deirdre Hurst du Prey Archive, Dartington Hall), new insights, theoretical understandings and practical uses of Chekhov Technique for directors in contemporary theatre practice at different phases in the research project. This disseminated the research findings in a specific form of ‘Catalyst Direction’ to professional practitioners while further exploring and expanding on the understanding of the field, praxis methodology and related theoretical issues
Michael Chekhov Technique in the Twenty-First Century: New Pathways
No full textThe culmination of an innovative practice research project, Michael Chekhov in the Twenty-First Century: New Pathways draws on historical writings and archival materials to investigate how Chekhov's technique can be used across the disciplines of contemporary performance and applied practice.
In contrast to the narrow, actor training-only analysis that dominated 20th-century explorations of the technique, authors Cass Fleming and Tom Cornford, along with contributors Caoimhe McAvinchey, Roanna Mitchell, Daron Oram and Sinéad Rushe, focus on devising, directing and collective creation, dramaturgy and collaborative playwriting, scenography, voice, movement and dance, as well as socially-engaged and therapeutic practices, all of which are at the forefront of international theatre-making.
The book collectively offers a thorough and fascinating investigation into new uses of Michael Chekhov's technique, providing practical strategies and principles alongside theoretical discussion
Michael Chekhov
No full textFollowing 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
The English theatre studios of Michael Chekhov and Michel Saint-Denis, 1935-1965
No full textThis thesis charts the brief history of the theatre studios run in England
between 1935 and 1965 by Michel Saint-Denis (1897-1971) and Michael Chekhov (1891-
1955). They were the London Theatre Studio (1936-1939), run by Saint-Denis; The
Chekhov Theatre Studio at Dartington Hall (1936-1938); The Old Vic Theatre School
(1947-1952), initially part of the proposed Old Vic Theatre Centre, whose directors were
Michel Saint-Denis, George Devine and Glen Byam Shaw; and the RSC Studio (1962-
1965), run by Saint-Denis. All of these studios were dedicated to combining training and
experimentation in the development of ensemble companies and were therefore liminal
spaces combining elements of a theatre and a theatre school.
An introductory section briefly situates the practice of theatre studios in the
context of wider narratives of work, craftsmanship and artistry in the period and traces
their development from the Moscow Art Theatre Studio of 1905, as well as sketching
some significant parallels between Saint-Denis and Chekhov. The first two sections of
the thesis then explore the period from 1936 until 1952, looking first at Chekhov’s and
then at Saint-Denis’ studios, placing them in the context of the traditions of training and
exploration from which they emerged, and examining their practice and their legacies.
The final section of the thesis explores the direct impact of their practice on the Post
War British Theatre, focusing particularly on the Royal Shakespeare Company whose
Studio was run by Saint-Denis, and where Paul Rogers (one of Chekhov’s students) was a
leading actor. A short concluding section applies the principles of Chekhov’s and Saint-
Denis’ work to the practice of training and experimentation in 2012 and looks to the
future, to ask whether the studios whose work is explored in the main body of the thesis
have a role to play in the future development of the art of the theatre
Review: The Routledge Companion to Michael Chekhov.
No full textA review of The Routledge Companion to Michael Chekhov. Edited by Marie-Christine Autant-Mathieu and Yana Meerzon. Abingdon and New York: Routledge, 2015. Pp. xxi + 433 + 25 illus. £148/30.56 Pb
Feeling Space, Making Space: Michael Chekhov's Approach to Theatre Design
No full textThis chapter is an overview of Michael Chekhov's little known ideas on theatre design and scenography. It charts how Chekhov at Dartington Hall integrated scenographic techniques into his actor-training with a focus on colour, costume, composition and gesture of the settings.
It concludes with a case study where Rushe applies these tools to her own production of Concert
Michael Chekhov in the Twenty First Century: New Pathways – The Little Prince in process
No full textPresentation of interim findings at Performance Research Forum Dis-Play [24], Goldsmiths College (2015). Cass Fleming, Tom Cornford and Roanna Mitchell, with five actor-devisers from The Chekhov Collective
Directing with the Michael Chekhov Technique by Mark Monday
No full textDirecting with the Michael Chekhov Technique is a much welcome addition to exploring Chekhov’s methodologies as the examination of the work of Russian theatre practitioners continues to gather apace in the West. There are several works on his technique from an acting practitioner’s perspective, such as Lenard Petit’s The Michael Chekhov Handbook (2009) with Sinead Rushe’s Michael Chekhov’s Acting Technique (2019) about to join the stable, and as well as returning to translations of the exponent’s own To The Actor. Yet, rarely is anything written about using Chekhov techniques through a directorial lens explicitly and in such a progressive manner that could be applied to a whole rehearsal process
Michael Chekhov u glumi i pedagogiji
No full textOvaj diplomski rad bavi se temom proučavanja tehnike Mihaila Čehova kroz module kako ih je osmislio i podijelio program Michael Chekhov Europe. Unutar diplomskog rada bit će opisani autorovi osobni doživljaji Čehovljevih vježbi, pomoću vlastitog primjera će opisati i objasniti utjecaj tih vježbi na glumčev rad na ulozi te osobni rast i razvoj pojedinca. Posebna pažnja bit će stavljena na neke od najpoznatijih alata kao što su psihološka gesta, atmosfere (ozračja), četiri osnovna principa tehnike (četiri brata), četiri vrste pokreta, rad sa centrima i slikama (predodžbama). Pisati će o vlastitom procesu i upoznavanju tehnike, korištenju iste pri radu na projektima i ispitnim produkcijama na ADU u Zagrebu i njezinoj korisnosti u pedagogiji.This graduate thesis deals with the topic of studying Michael Chekhov technique throughout moduls made by Michael Chekhov Europe program. Thesis will describe autors personal experience with Chekhov technique, on his own example he will describe and explain influence of those exercises on actors work on character and personal growth and development of individual. Special attention will be put on some of the most famous tools such as Psychological Gesture, atmosphere, four basic principles of technique (four brothers), four qualities of movement, working with centers and living images. He will write about his own proces and studying of technique, using it while working on projects and exams productions on ADU Zagreb and its use in pedagogy
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