Chekhov Teaching, beginning and learning

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Participants in Body and Imagination First, the opening of a series of Chekhov Workshops this spring here in Galway.

So here’s a new crop of Openers for this year, an exciting and very international group with people who hail from Greece, Italy ,Turkey, Spain as well as from nearer home . Last weekend we concentrated on some opening body and imagination exercises in Chekhov technique and using an old song Cruel Sister to explore them with. This doom laden song full of bitterness, jealousy and karma has resonances with Cinderella but is more of a revenge tragedy.

It is always an exciting time for me when I help people to make their early forays into the Chekhov work. To many it is a revelation. I find it both humbling and thrilling. It reminds me of when I first found the work and a light went on in my whole being. someone said this weekend, “it just makes acting so effortless”.

I feel a great sense of responsibility to the Technique and to be true to it especially when working on these profound beginning tenets.This does not mean I do not create my own exercises nor work intuitively when I teach but that I have to feel true to the principles. As an experienced teacher it is always vital to remember not to skip over nuts and bolts.

Of course everyone has a different starting place. Does one start with concentration, qualities, focusing on imagination, the ideal centre, radiating receiving, energy body, what? For me the first goal is to show people how the connection between body, sensation, feeling , voice, imagination works inside them, and how, in a sense, easy it is to express that. That does not mean I think it is all easy, especially at first, as we are constantly getting in our own way; our bodies house tensions and blockages; our minds block us often from trusting imagination and body. Strapping the intellect into the passenger seat is often a hard call.

I am a firm believer that the teacher needs to keep seriously training at home and in other courses. As a teacher I find I need time to be a student; to not be the leader; to be challenged encouraged and critiqued. Chekhov Technique , despite the fact its effect on the performer is powerful is like anything really worth its salt, a life long study.

Many teachers behave as if they do not need to train themselves, or keep any training a secret, for fear it might belittle them in the eyes of their students. On the contrary I feel doing your own training enhances you in the eyes of any right-minded student because they see you as constantly developing. You are also setting an example. By training yourself you are saying ‘look I do not know all this stuff, you need to go on and learn with others or with me.’ Of course you learn from your own practise and from the art of teaching yourself but it is not the same as being a student. The problem is the older and more experienced you are the harder it is to feel you can properly put yourself into the student role. It is easy to feel angry, jaded or bored when the teacher does not matchup to your own standards.

So in a few weeks I will be packing my bag off to Hamburg to attend a week long course run by Michael Chekhov Europe taught by amongst others the Master teacher Lenard Petit, who runs Michael Chekhov New York. His book, The Michael Chekhov Handbook, is for me one of the great books on the Chekhov technique. Lenard’s teaching was a revelation to me when I had the privelege of being in his class some years ago in that he was sufficiently challenging on the one hand and warm and encouraging on the other.

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Ciara Brady and William Loughnane  as Titania and Oberon

Another challenge to being an experienced student more used to leading workshops is coming fresh to material. In the Hamburg workshop we are going to be working with Midsummer Nights Dream. It is hard to come fresh to it. I have directed it twice. I played Bottom when I was 8 in a trimmed down version, the first piece my first drama teacher gave me was Pucks Aria in Act 3 sc 2 and I frequently use the play for teaching.

So how will I choose a character I like, learn some text from the character in a fresh manner? It’s a challenge but I have always found the Chekhov Technique opens for me some fresh doors even when I approach a play I know incredibly well. I often try to place myself in the situation of ‘what if I had never met this play before? Which character would touch me?’

A way that works for me for courses is to choose a character I would not be asked to play because I am the wrong gender or too old. I am considering Helena but Bottom and Egeus [whom i might well play] are also calling.

Continuers courses on March 24-26 in Voice and Chorus and based upon my book Teaching Voice and March 31 – April 2 in Using Silence are still booking here in Galway.
and on May 23-26th Hugo Moss from Michael Chekhov Brasil and i are running a four day workshop in Dublin ,Giving Voice to the Imagination. contact chekhovtrainperformireland@gmail.com

More on Dublin in the next post or go to the Dublin workshop page on the blog!

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