Enhanced descriptions from Syndetics:

'Petit's words go right to the heart of Chekhov's technique ... Anyone looking for a key to understanding more about Michael Chekhov's technique will devour it.' ¿ Jessica Cerullo, Michael Chekhov Association, NYC

The Michael Chekhov technique is today seen as one of the most influential and inspiring methods of actor training in existence. In The Michael Chekhov Handbook, Lenard Petit draws on twenty years of teaching experience to unlock and illuminate this often complex technique.

Petit uses four sections to guide those studying, working with or encountering Chekhov's approach for the first time:

the aims of the technique ¿ outlining the real aims of the actor the principles ¿ acting with energy, imagination and creative power the tools ¿ the actor¿s use of the body and sensation the application ¿ bringing the technique into practice

The Michael Chekhov Handbook¿s explanations and exercises will provide readers with the essential tools they need to put the rewarding principles of this technique into use.

Lenard Petit is the Artistic Director of The Michael Chekhov Acting Studio in New York City. He teaches Chekhov Technique in the MFA and BFA Acting programs at Rutgers University. He was a contributor and co-creator of the DVD, Master Classes in The Michael Chekhov Technique, published by Routledge.

Reviews provided by Syndetics

CHOICE Review

Chekhov's acting theories, though more than 50 years old, continue to influence modern performance theory and art. This handbook offers much of value, but unfortunately Petit (a recognized practitioner of the Chekhov technique) offers little that is likely to change attitudes toward Chekhov's acting theories. Those who already employ the techniques will find the material Petit presents strengthens their belief in Chekhov's work; those dubious of Chekhov's theories will be further disillusioned by what they will see as the "pseudo-psychology" of some of the concepts the author presents. Petit includes the rudiments of Chekhov's theory--the four dynamic principles of movement, the psychological gesture (PG)--and offers exercises that clarify the concepts. But he does not go beyond the basics: Chekhov's theories are either missing or minimally considered. Readers will be better served by the works of Chekhov himself, especially To the Actor (1953, since reissued) and Lessons for the Professional Actor (1985). Summing Up: Optional. Comprehensive collections serving beginning actors. J. J. Kelly Elmira College