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Michael Chekhov's acting technique : a practitioner's guide / Sinéad Rushe.

By: Rushe, Sinéad [author].
Material type: materialTypeLabelBookSeries: Performance books: Publisher: London : Bloomsbury Publishing, [2024]Description: xviii, 337 pages ; 22 cm.Content type: text Media type: unmediated Carrier type: volumeISBN: 9781408156889 (paperback).Subject(s): Chekhov, Michael, 1891-1955 | ActingAdditional physical formats: Electronic version : Michael Chekhov's acting technique : a practitioner's guideDDC classification: 792.028 Also available in electronic form.
Contents:
The ideal centre -- The first of the four brothers: feeling of ease -- Receiving -- The second of the four brothers: feeling of form -- The third of the four brothers: feeling of beauty -- The fourth of the four brothers: feeling of entirety -- Radiating -- Expansion and contraction: expansion as a principle -- Qualities of movement: moulding, floating, flying -- Further qualities of movement -- Six directions -- Archetypal gesture -- The three sisters: rising, falling and balancing -- Image and imagination -- Improvisation -- Imaginary body -- Imaginary centres -- Stick, veil, ball -- Archetypes -- Psychological gesture -- Subjective atmosphere -- Objective atmosphere -- Extras -- Conclusion: theatre of the future.
Summary: "Intended for actors, directors, teachers and researchers, this book offers an exceptionally clear and thorough introduction to the renowned acting technique developed by Michael Chekhov. Providing a complete overview of the whole method, Michael Chekhov's Acting Technique includes illuminating explanations of his principles and a wide range of practical exercises that illustrate, step by step, how they can be applied to dramatic texts. Part One provides an outline of Chekhov's most basic principles, which help to prepare practitioners to become responsive and receptive, and to awaken their imagination. Part Two charts a journey through the foundational psychophysical exercises that can both orient an actor's training routine and be applied directly to the development of a role. Part Three focuses on more specific and elaborate methods of scene work, characterisation and the art of transformation. The book draws on the full range of Chekhov's writing in English and French, unpublished material from the Dartington Hall archives, and interviews with actors who have worked with the technique, including Simon Callow and Joanna Merlin. It illustrates Chekhov's approach by referring to Rushe's own productions of Nikolai Gogol's short story 'Diary of a Madman' and Shakespeare's Othello, as well as characters and scenes in Sarah Kane's Blasted and the contemporary American television series Breaking Bad. It will serve as a comprehensive and contemporary point of reference for those who are already trained in the method, as well as an initiation and toolkit for practitioners who are just beginning to discover it"-- Provided by publisher.
Holdings
Item type Current library Call number Status Notes Barcode
General lending MTU Cork School of Music Library Lending 792.028 (Browse shelf(Opens below)) Available CSM Module MUSC 7028 - Core reading. 00221114
General lending MTU Cork School of Music Library Lending 792.028 (Browse shelf(Opens below)) Available CSM Module MUSC 7028 - Core reading. 00221116
General lending MTU Cork School of Music Library Lending 792.028 (Browse shelf(Opens below)) Available CSM Module MUSC 7028 - Core reading. 00221115
Reference MTU Cork School of Music Library Reference 792.028 (Browse shelf(Opens below)) Reference Recommended reading for MTU Cork module MUSC7028 00219850
Total holds: 0

Enhanced descriptions from Syndetics:

Intended for actors, directors, teachers and researchers, this book offers an exceptionally clear and thorough introduction to the renowned acting technique developed by Michael Chekhov. Sinéad Rushe's book provides a complete overview of the whole method, and includes illuminating explanations of its principles, as well as a wide range of practical exercises that illustrate, step by step, how they can be applied to dramatic texts.
Part One provides an outline of the ideas that underpin the work, which help to prepare practitioners to become responsive and receptive, and to awaken their imagination. Part Two charts a journey through the foundational psychophysical exercises that can both orient an actor's training routine and be applied directly to the development of a role. Part Three focuses on more specific and elaborate methods of scene work, characterisation and the art of transformation.

Drawing on the full range of Chekhov's writing in English and French, this book also examines unpublished material from the Dartington Hall archives and features interviews with actors who have worked with the technique, including Simon Callow and Joanna Merlin. It illustrates Chekhov's approach by referring to Rushe's own productions of Nikolai Gogol's short story Diary of a Madman and Shakespeare's Othello , as well as characters and scenes in Sarah Kane's Blasted and the contemporary American television series Breaking Bad .
Michael Chekhov's Acting Technique is an accessible, comprehensive and contemporary point of reference for those already trained in the method, as well as an initiation and toolkit for practitioners who are just beginning to discover it.

Includes bibliographical references and index.

The ideal centre -- The first of the four brothers: feeling of ease -- Receiving -- The second of the four brothers: feeling of form -- The third of the four brothers: feeling of beauty -- The fourth of the four brothers: feeling of entirety -- Radiating -- Expansion and contraction: expansion as a principle -- Qualities of movement: moulding, floating, flying -- Further qualities of movement -- Six directions -- Archetypal gesture -- The three sisters: rising, falling and balancing -- Image and imagination -- Improvisation -- Imaginary body -- Imaginary centres -- Stick, veil, ball -- Archetypes -- Psychological gesture -- Subjective atmosphere -- Objective atmosphere -- Extras -- Conclusion: theatre of the future.

"Intended for actors, directors, teachers and researchers, this book offers an exceptionally clear and thorough introduction to the renowned acting technique developed by Michael Chekhov. Providing a complete overview of the whole method, Michael Chekhov's Acting Technique includes illuminating explanations of his principles and a wide range of practical exercises that illustrate, step by step, how they can be applied to dramatic texts. Part One provides an outline of Chekhov's most basic principles, which help to prepare practitioners to become responsive and receptive, and to awaken their imagination. Part Two charts a journey through the foundational psychophysical exercises that can both orient an actor's training routine and be applied directly to the development of a role. Part Three focuses on more specific and elaborate methods of scene work, characterisation and the art of transformation. The book draws on the full range of Chekhov's writing in English and French, unpublished material from the Dartington Hall archives, and interviews with actors who have worked with the technique, including Simon Callow and Joanna Merlin. It illustrates Chekhov's approach by referring to Rushe's own productions of Nikolai Gogol's short story 'Diary of a Madman' and Shakespeare's Othello, as well as characters and scenes in Sarah Kane's Blasted and the contemporary American television series Breaking Bad. It will serve as a comprehensive and contemporary point of reference for those who are already trained in the method, as well as an initiation and toolkit for practitioners who are just beginning to discover it"-- Provided by publisher.

Also available in electronic form.

Table of contents provided by Syndetics

  • Preface (p. x)
  • Acknowledgements (p. xv)
  • List of abbreviations (p. xvii)
  • Introduction: Guiding principles (p. 1)
  • A Note on the context of Chekhov's work (p. 15)
  • Part 1 Preparation (p. 33)
  • 1 The ideal centre (p. 35)
  • 2 The first of the four brothers: Feeling of ease (p. 42)
  • 3 Receiving (p. 53)
  • 4 The second of the four brothers: Feeling of form (p. 64)
  • 5 The third of the four brothers: Feeling of beauty (p. 79)
  • 6 The fourth of the four brothers: Feeling of entirety (p. 90)
  • 7 Radiating (p. 102)
  • 8 Expansion and contraction: Expansion as a principle (p. 111)
  • Part 2 Practice (p. 123)
  • 9 Qualities of movement: Moulding, floating, flying (p. 125)
  • 10 Further qualities of movement (p. 136)
  • 11 Six directions (p. 147)
  • 12 Archetypal gesture (p. 158)
  • 13 The three sisters: Rising, falling and balancing (p. 170)
  • 14 Image and imagination (p. 176)
  • 15 Improvisation (p. 188)
  • Transition: Transformation (p. 196)
  • Part 3 Performance (p. 203)
  • 16 Imaginary body (p. 205)
  • 17 Imaginary centres (p. 220)
  • 18 Stick, veil, ball (p. 235)
  • 19 Archetypes (p. 243)
  • 20 Psychological gesture (p. 260)
  • 21 Subjective atmosphere (p. 273)
  • 22 Objective atmosphere (p. 281)
  • 23 Extras (p. 299)
  • Conclusion: Theatre of the future (p. 308)
  • Chronology of Michael Chekhov's career (p. 319)
  • References (p. 322)
  • Index (p. 328)

Reviews provided by Syndetics

CHOICE Review

A long-time practitioner of Chekhov's acting technique, Rushe (Central School of Speech and Drama, UK) has delivered a valuable, comprehensive look at many of the acting tools Chekhov pioneered at the turn of the 20th century. Rushe divides the book into three sections: "Preparation," "Practice," and "Performance." Each section jumps directly into concrete acting exercises, providing examples of how the exercises were implemented in production. Particularly noteworthy is Rushe's creation of a careful pathway through all the material. Each exercise builds on its predecessor in a way that shows the author's attention to detail and mastery of the subject matter. Beginners may need an experienced actor/mentor to help unravel some of the complexities of section 2, which deals with Chekhov's psychophysical approach, but actors at all levels will benefit from these craft-honing exercises. Though aimed at modern practitioners of acting, academics should not shy away from this guide, given its thorough research and its historical relevance. This volume will be a useful resource for those studying acting theory, theater history, or the pedagogy of acting. Summing Up: Recommended. Lower-division undergraduates through faculty and professionals. --Eric Christopher Skiles, Lone Star College-Kingwood

Author notes provided by Syndetics

Michael Chekhov's Acting Techniques an accessible, comprehensive and contemporary point of reference for those already trained in the method, as well as an initiation and toolkit for practitioners who are just beginning to discover it.