Keeping those Cucumber Sandwiches Fresh! Working with Chekhov Technique

When rehearsing/performing a well known play, artists often  behave as if the audience already know every single twist and turn of a story.  It is unconscious – people often do not even know they are doing it. That dreadful mistake completely blunts the immediacy and urgency of the playing, flattens the pace, and often bores the audience who may applaud but leave the theatre unsatisfied without necessarily knowing why. It often belittles the work by making something very cosy out of something which can be much more visceral. This is a massive issue in Shakespeare but equally with Wilde, which I am working on with my group of fellow explorers in the comedy Chekhov and Cucumber Sandwiches course. It was only when we started to tell the story of The Importance that we realised how complicated the story actually was, how the series of ‘reveals’ occurs, and how it initially unravels the lives of Jack Worthing and the others.

The thing is that even if the audience have studied the play and do know it, you have to play it as if they don’t in order to keep it fresh and potent. This may sound so obvious that it is not worth saying and yet this simple fact is often totally disregarded. I have seen many a production of Shakespeare when this development of the plot is lazily and glibly presumed, and not in the way we know the ending in a Greek tragedy, say, where the foreknowledge adds to the import and weight of the tale. Do not misunderstand; this complaint is not an excuse for protracted ‘table work’,  but  the actor’s inability to be able to respond to impulses .

I remember when I was working on Macbeth in Galway decades ago, this was the first thing I said to them; we have to treat this as a play that was written last week. no one knows he is going to die; no one knows she will kill herself; no one knows he will become King and ‘get away’ with the murder[s]; no one knows that Lady M will not wake up during the sleepwalking scene and have the doctor and gentlewoman killed; No one knows that Fleance will escape. If you remember this, much of the play is delivered to you.

One of the great things about the Michael Chekhov Technique is it immediately rockets you from your comfort zone both as a performer, director and designer. A few years ago I ran a weekend on Importance and was staggered at its potential depth of situation and character. This is somehow often ignored in favour of the incredibly witty dialogue and the sophisticated veneer. One has to ask oneself of course, is this a comedy of manners, about a whole society, or is it also about the idea of people struggling to find their hearts in a privileged rigid world of do’s and don’ts, a kind of gilded prison of their own making? What ultimately should the audience feel at the end of this play? A smug satisfaction that everything turned out right ? A despairing comment on the folly of convention? As the group potentially working on this play we need to know. Michael Chekhov alerts us to the fact that we must know what we want the audience to take away when all are united and Lady Bracknell’s privileged world is saved from disintegration by some extraordinary coincidences.

Last night we made some extremely interesting discoveries through the intense ghost exercise, something I learned at MICHA (The Michael Chekhov Association) many moons ago; a character called Jack with dark and terrible secrets which are gradually exposed  only to eventually have the very key to his happiness within his secret life – as he uses his wealthy ward as a bargaining chip to buy all the young people their happiness; a woman called Lady Bracknell desperately holding on to a sense of Order; Miss Prism carrying within her her grief at the loss of a baby; Algernon, a fixer who plays the system but then who unexpectedly  falls madly in love with a beautiful young girl etc etc. This exercise not only enabled us to explore the darker possibilities of these characters but also find a whole trajectory for them. A great plus for the Chekhov work is how very very fast it is and how you can uncover things about characters and the play if you will but commit wholly with your imagination and your body.

The challenge for us now is to explore through the feeling of ease and the alchemy of the play, the possibility to transform these serious journeys into comedic possibilities. This is already starting to happen.

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Comedy cuts

Hollarcut [Max Hafler] protects Mr Hatch [ David Haig]: Bond’s The Sea. Lamda 1976 dir: Helena Kaut Hausen. Me being VERY SERIOUS INDEED

As a young student actor I could never get the hang of comedy. For one thing, the kind of comedies we ended up exploring were so far from my experience (The Philanthropist by Christopher Hampton was one) that I simply could not take them seriously. Even before classmates I would get the giggles when performing. I simply could not help it. I comforted myself that Laurence Olivier had had a similar problem as a young actor and hoped for the best that this giggling would stop. It took a long time and I comforted myself further that I was really a dramatic actor and that comedy was not my thing. I remember hating the idea that in comedy you were really,  it seemed to me, out to get the audience’s approval; that the result needed to be laughter or at least, a smile, and you knew whether you had succeeded or failed almost immediately.

Looking back, there was a misunderstanding of what acting was which caused the problem. For me at that time, acting had to be ‘real’. I was good at being emotionally true to my inner life, as narrow as it was, given that it was completely defined by my version of my young self. I had difficulty understanding the relationship between character, play and audience clearly; to understand that, whilst you had to enjoy the game of the play and enjoy making people laugh, you had also to work from an inner truth; that it was actually possible to do this. But you had to work on all of these levels at the same time to be effective. I would explain this now as truly activating the Higher Ego, as Michael Chekhov explains it, and developing the ability to shift the attention from the audience, the character, a consciousness of the humour and back again. It’s needed for all theatre work but for comedy in particular.

At LAMDA I remember exploring the Idea of comedy with an extremely interesting but misguided teacher who asked us to create something comedic out of a real tragic incident of our lives. This was an extremely unwise basis for an exercise and left many of us angry and disturbed. We attempted to recreate a tragic incident in a fellow student’s life who as a boy had hit a cricket ball which had struck and killed one of the fielding team. He had felt that he had killed the boy. This must have been extremely stressful for the student and was in addition very unsuccessful. All the improvisations based around this exercise were a failure. However, despite the fact that I strongly disapprove of leading a student into such tricky emotional territory, comparing tragedy and comedy is often a good place to start in order to define comedy and get a sense of what comedic energy actually is. Chekhov explains this simply and effectively. There are lots of safe ways to do it.

Then, when working on a student production we took to Edinburgh I began to get a feel for comedy, whilst working on a Japanese play when I played a messenger. I knew I was being funny in a stylised, physical way which felt more comfortable because I was not trying to pretend this was ‘real’. It broke a boundary for me and I enjoyed it and began to gain confidence in comedy. I got even more safely into humour in several tv plays as a young professional because there was no audience to contend with and through that I became much more aware of my own sense of humour and started to feel safer with it. Also, on TV,  I was able to hang on more firmly to the sense of ‘truth’ because there was no immediate feedback from an audience.

not subtle but sharp and funny . Malcolm James as Simonides and me as Gnotho in my version of Middleton and Rowley’s OLD LAW 1990 . Lyric Theatre Hammersmith. director Tony Hegarty photo Amrando Atkinson.

But it was only later when I truly experienced the full contact with the audience that I started to truly understand the game that is comedy.; the constant movement of energy; the playfulness… and I started to really enjoy it. It was as if comedy required a complete acceptance of the theatrical experience which I felt at the time could somehow be ignored in drama or tragedy. I now understand that even with the most ‘realistic’ work, a degree of ‘radiation’ is essential . In other words, ‘real’ never quite cuts it – whatever that actually is. One of the things I found so liberating about the Chekhov Technique, something, by the time I found it I already knew, was that theatrical artistic truth is a completely different animal to ‘real’

Very much looking forward to my course Chekhov Comedy Composition and Cucumber Sandwiches which starts on Tuesday in Galway

The further from my own home I get – devising theatre for the ‘abroad’

One of the fundamentals of creating theatre is to share. It is an act of sharing. Nowhere is this more true than when you are devising with a group, and especially when the group is devising a piece of theatre based on their experience. So it was with an American student group from Principia College whom I met for two periods of devising; once at the beginning of their trip, and once at the end. The devising of their piece around their trip to Ireland, what they experienced both literally and emotionally, is the subject of their dramatic piece. Indeed this process is not over as the summer intervenes and they recreate and further develop the piece next term with their drama professor John O’Hagan.

I have devised many pieces, particularly with young people’s groups, and with this piece in particular it was important to share the idea that this was not a lecture or a slide show, but a feeling response to their experience. This highlights for me what is absolutely unique about a theatre experience; a direct response from the hearts of the performers pouring their energies into the theatre space, either through the filter of character and story or in this case, the more direct route of their own writing, and their own experiences.

It is very often the case that initially students come at devising very intellectually and make thin work. Once the feeling response starts to happen and the instincts kick in, the work gets deepened. It is wonderful to watch this opening up to the “intangible” as Michael Chekhov would say. Only when you approach the intangible and start to use and express it can an audience truly get a sense of what the experience was like. “Atmosphere” is a very valuable tool in accessing this intangibility, particularly in this group when they wanted to get a sense of place, for example, Dublin, Belfast or Tara.

Whilst you need to also play to the group’s strengths (all of this group could sing beautifully) I am a firm believer that it is unfair in all but the most basic of circumstances not to develop the skill level in the group, so I always mesh a number of skill workshops in with the devising to help the participants maximise their power; except in exceptional circumstances creation is not enough. So in this series of workshops we meshed tools, ensemble, voice and devising together. There was of course a large Chekhov component; we used the imagination and the body first to find expression, which freed many of the students up and widened the range of feelings they could express. Meshing devising and skills work is complex in that you have to choose exercises to suit the material they produce on the day so the leader cannot prepare the exercises in advance, except in a broad way.  You as the leader risk more but you also gain more when the magic comes and their devised material is enriched by the skills you have offered.

Because we were always dealing with the participants’ own material it was vital to show the utmost sensitivity towards it. The deviser is usually revealing something about themselves directly, especially in written solo work. It is often not appropriate to use this material as an acting exercise and push the student into difficult areas. A play enables more of a distancing between the actor and the material. It means students can be more robust in their acting because they are playing the impulses and feelings of the characters rather than themselves. The work is seen through the atmosphere and situation of the play ; it is not theirs but they nonetheless have to inhabit it in order to perform successfully. Often with devising the work is very very close and as a leader I am aware of a delicate balancing act, which often involves how much they want to reveal.

This, along with rules of composition which we touched on and the creation of a rough structure and some deep honest work was the total of the time i spent with them. it was amazing to actually see them in their first tentative days and then in their last days in Ireland, like a beginning and an end in itself. Thanks for such an enriching experience.

I will be returning to atmosphere specifically in the summer school Journey Through Atmosphere,August 24 -27th being held on the NUI Galway campus. We will be working with Pericles, a play with a myriad of journies and atmospheres. Plays with Journies, like devised pieces about journies seem to me to have atmosphere almost as their engine. check out http://www.chekhovtrainingandperformanceireland.com for info or contact chekhovtrainperformireland@gmail.com