Reviewing the recent four day course in Chekhov Technique which I co-led with colleague Declan Drohan here in Galway with 15 enthusiastic and committed practitioners, I was delighted with the amount of scene work we managed to explore from Woyzeck by Buchner. As always the course was joyous and creative but this issue of application was something Declan and I discussed at length as we prepared the workshop.
WOYZECK, is short poetic and political; it mixes expressionist ensemble and naturalism. Grimness jostles with dark humour. But it is, above all, short. What that shortness allowed in our four day workshop was to allow everyone to get a sense of ‘the whole’. The brevity allowed them to feel they knew the play and could access the Chekhov elements which they explored with more confidence. To some extent this knowledge might be illusory because we ultimately were quite selective with our short scenes and only got a few scenes on their feet. But it felt like we did more, because the play was short.
However, you cannot always pick a short work. In the last summer School, ‘A little Piece of Art’ we used The Cherry Orchard ( a very long play) and explored the Feeling of Form and the Feeling of the Whole. I gave short duologues out and we also worked in depth on three short group scenes; one was the arrival of Ranevskaya to the house with her entourage, another was the episode with The Vagrant and we also worked on the final moments when the family leave the house. Applying Form and a Feeling of the Whole to these short passages gave everyone a real sense of where our exploration was going. But we could not get a full sense of the whole play, even though we explored the beginning and the end of it.
If you are going to really approach application then the elements you teach on your course are the very elements you teach as if you were working on the play in reality. In that way the play you pick is a fundamental part of your teaching. Many people come to my courses not just to learn technique but because they are attracted by the play we are going to look at.
However you cannot teach everything , despite the fact that all of Chekhov’s elements are all connected. Sometimes it is a little frustrating to know you cannot do everything all at once (the curse of short courses in particular). There is not time to work on concentration and imagination with the detail and intensity I would like when I have to explore other elements in order for people to use the scenes. The more application I do, the less time there is for that block building. It is a fine balance and different for every course I do.
However, what substantial application offers even in a mixed group, even if it has different layers of success depending on your level is the chance to work with everyone in the group on the play ( especially so when as with WOYZECK, we consciously worked with two or three big ensemble elements in the play). It also offers a freedom for the participant so they do not have to worry quite so much about getting the technique ‘right’. There is a bit less pressure paradoxically through more application.
Some people believe that when learning technique you should not rush into application too soon. Students may mess up. It may not work for them and put them off forever. But this is only so for a few. For others, breakthroughs will happen and, provided you create the right environment, those who are only beginning will be encouraged.
Thanks to everyone who made such a great workshop over the last few days. Next up are two weekends: October 18-20 on Images for Character and November 29- December 1 on Good V Evil, playing King Lear ( there’s a short play!) email firstname.lastname@example.org to book your place.