In many plays, the idea that our character has a different body is generally limited to how we are clothed, our size, a disability perhaps, or age. That’s if it is specified in the text at all. Yet our bodies are the vessel for everything we are.
Like most things with Chekhov technique any accusations that our exercises are ‘floaty’ are completely refuted by the fact that what the technique explores is the reality of things as they are; in this case how we relate to our bodies and how the character relates to his own body.
In our workshop this weekend, as we explored the troubled characters in The Crucible, I began by asking the group to make considerations of their own bodies. This needed to be done with a degree of delicacy and limited sharing; the most important thing is for the actor to experience the body rather than talk about it, in any case. I asked everyone to consider how our bodies affected how we dress, what colours we wore, where our weight was centred, what parts of the body we liked and what we didn’t like and how those responses affected our every move; it is a sobering thing for actors to consider and experience. If we like our hands we are going to move them differently to how we would if we don’t like them. If we think our lips are attractive, we will use them differently.
So what if the character has this interconnected relationship to their body? By putting on the body like a coat, we can find out.
This work on Imaginary Body goes so much further than just creating a convincing and particular shape for the character; it gives you a huge part of the character’s psychology. The body dictates how we breathe, our level of confidence and health, the tensions which build up in us; as we age the frame is restricted and can freeze us into a cypher of everything that has happened to us through our lives.
How we relate to the body makes resonances and echoes in every single thing we do. To take an example, if Abigail Williams is aware of her sexual power from the start it makes a very different character to an Abigail Williams who does not.
Furthermore we have the impact of the environment on the bodies of the characters. On examining the hands of the characters, we considered those who had soft hands and those who did not . That one fact created a whole layer to a possible world; those with rough hands, physically strong but somehow in another world from the likes of the preachers and judges who govern the play. The soft-handed are trying to preserve their status, maintain control and impose morality upon the townsfolk. How do they feel about their hard-handed brethren? Do they feel superior, closer to God, fearful, guilty about their own inactivity?
It was interesting how both the power of Imaginary Body and Character Centre created really strong atmosphere on their own in our studio, though we did little work on atmosphere directly. It reminded me of Chekhov’s Chart for Inspired Acting where Chekhov said that if you inspire just one area, if it is effective, many of the other elements of the scene will fill effortlessly. Working for a good while on the idea of everyone having a centre that was a large spade brought the smell of the earth into the room; a sense of digging in; a world that was rough and shifting as the characters spoke to each other.
The next Chekhov weekend is Actors Are Magicians, working with Form , atmosphere, directions and Tempo principally. It is here in Galway and runs from Friday evening till mid afternoon Sunday. We will be working on chapters of The Trial by Kafka. It is for Directors, actors, students and devisers. book by emailing email@example.com and visit the website http://www.chekhovtrainingandperformanceireland.com