Zooming with Chekhov

Michael Chekhov.

I want to begin with an extract of a note I sent to my group of Chekhov students yesterday after a Zoom session.

‘First of all thankyou again for a committed session on atmosphere. There were three big plusses for me, one in that sense of commitment, two when you all crossed the threshold into your room between the hallway and your room, reminding us that for now your study was your stage; and three when,  in the movement exercise, I suggested you imagine the walls of the room were not there. In that moment, it was as if everyone’s walls vanished, rather like in the children’s book, Where the Wild Things Are.’

A polarity within this strange time in which we find ourselves is whether the work we are doing is primarily for the ease and betterment  of the people who come to the virtual class or to be really teaching the technique to actors for the enlightenment of an audience. The virtual workshop puts this dilemma up front and centre. everyone has a different focus but I would say myself that the work is always a balancing act and has to be both.

When I saw that moment in my workshop, when I asked people to imagine their energies were pulsating out through the walls, I felt something happened. Something very powerful was communicated to me very strongly through those little zoom squares. And that thing was even more powerful exactly because they were working within their rooms rather than the studio. It made me connect with prisoners in darker situations than most of us and how the imagination liberates and compensates us all when in difficult situations provided our will is not broken by the weight of what is happening to us;  when we are not actually ill or oppressed or struggling financially so much that we are in danger.

Today in the class for the first time I encouraged a lot of work in their rooms away from the monitors, and above all to not always allow the monitor to be the focus of their radiation, to trust the participants more to commit for themselves; to allow the cord of energy from the monitor to link us together rather than them (and I) feeling like it was a rope we had to hang onto for dear life. Of course there are distractions where they were and we did talk about that a bit. It is not dissimilar to when you are working on a film and a whole pile of things are going on around you, but you have to be there in your reality and your truth with your fellow performers.

I personally feel like an artist who has to kind of work underground, like Shakespeare and his company hiding out during the plague years or theatre in times of war and oppression.

I particularly wondered about theatre companies in the English Civil War when theatre was banned as ungodly. What did the actors do during this strange and difficult period of many years? What was lost? Who died in penury, their living and their creative talent and opportunities wasted?  I want to keep this Chekhov work vibrant while we are in lockdown because it is a unique way of seeing the world and creating art; because even in this difficult time we have a duty to preserve our artistic wholeness.

“The artist of today cannot be an artist if he is disconnected from real life; it has never been possible in any ethos, in any culture.”  Michael Chekhov Lessons for Teachers

Ironically, whilst Zoom is strange, for now it is a reality. I have been surprised at sometimes just what comes through. We have to stay awake.

One thing that is lovely is that I am much more in contact with international colleagues, and that people from all over the world are coming to study with me. That is fun.

(email chekhovtpi@gmail.com for courses)

 

Advertisement

Give Me Your Hands

On adaptation and versions of Shakespeare and particularly Russell T Davies Adaptation of A Midsummer Night’s Dream on BBC4. This I discover was actually made in 2016.

 

There are lots of reasons to edit and transpose in Shakespeare. I am certainly not averse to it and have a whole chapter on the subject in ‘What Country Friends Is This?’ my new book to be published by NHB later in the year. Michael Chekhov wrote, way back in the middle of the 20^th century, that Shakespeare often needed editing and shaping for a modern audience. But as Peter Brook warned in Evoking (and Forgetting!) Shakespeare, to modernise, cut or transpose meant that you had to be fully aware of the consequences.

There are lots of things we might challenge in the Dream; the over-arching idea that heterosexual love and marriage was the natural and only way out of conflict; that it is ok for the ruler Theseus to conquer  the Amazons and then to marry their queen whilst the blood is still soaking into the battlefield; that it is ok to have the king of the Fairies to destroy the environment and fight with his queen over possession of a changeling boy and then to get his revenge by bewitching her into having sex with (essentially) an animal.

All of these problems were faced head-on in a feast of pyrotechnical skill and pace with clever editing and truncating of plot, and some very nice use of language (though of course the edits were enormous). It opened us to different sorts of love, which was great. But for me it did not fully work in a very fundamental way. I want to look at just a couple of things.

At the centre of this problem are the roles of Theseus and Hippolyta, to my mind two of the most underwritten parts in Shakespeare. Unless they are played by the same actors playing Titania and Oberon who play out the warring conflict of Theseus and Hippolyta in a poetic way, then they are nearly always unsatisfactory. Davies’ solution to this was a bold one. He made the kingdom of Athens a totalitarian state, Theseus a fascist madman and Hipployta a kind of fairy creature (I won’t elaborate in case you haven’t seen it) . I remember when I worked on this play in ’08 I toyed with something similar but felt that unless I changed the play completely, it simply would not carry through. In the TV adaptation it meant (and this is not a bad idea) what happens in the forest somehow liberates and frees everyone in Athens itself. That is intrinsic to the play but somehow does not always happen in production.

The speech of Theseus in Act V “I never may believe these antique fables” where he decries and rubbishes the lovers’ story of the forest and love and imagination in total is the complete opposite of what the play is telling us. Shakespeare had great faith in romantic love, even though everyone does not end up a winner (look at Twelfth Night). So, if we are looking for a polarity, this cynical, superior, materialistic speech is a dynamic to explore and set against the thrust of the play. When I did a production of this play in 08 I gave that speech to Egeus, who is the one person in the original who is not happy about the young lovers’ decision. He was mobbed and pursued by the fairies and chased from the stage. To keep the speech with Theseus makes it completely unbelievable that he would pardon the lovers for the transgression and have them marry with him.  In answer to this criticism you might say to me, “this is a fantasy”. Yes it is a fantasy but one that needs an emotional logic for the actors to play. For John Hannah I really felt for a moment his characterisation was squeezed by the demands of the adaptation.  Had he somehow made it look that his decision to pardon them was in order to make his own marriage look acceptable, I feel this would have gone with the concept. In other words, that he needed those young lovers to legitimise his own marriage.

A similar problem occurred with Titania and Oberon. By cutting the changeling child and making the argument between Titania and Oberon about Titania’s love for Hippolyta (a neat idea considering how badly Theseus treats her), that idea needed to be followed through in Oberon’s character trajectory. Despite some beautiful moments, the character of Oberon who should go on this big journey in the adaptation was lost. A key moment was a line change in Act 4 Sc3  “Oh how mine eyes do loathe his visage now” which Titania says when she awakes from the enchantment when she sees her ass-headed lover, but it was changed to “Oh how mine eyes do loathe thy visage now” as a jibe to Oberon but said as a joke…. So hey presto, he puts her under a spell to humiliate herself and she says, ‘ha, fair cop,love!” It was another moment where a decision made in the adaptation did not for me sit well with the actors.

Like many adaptations, I felt somehow that in some of these crucial journies and atmospheres director, writer and actors were not quite on the same page. So despite some great energy, for me this made it rather superficial. Why, for instance were the mechanicals not terrified at the Duke’s Palace when they did the play? An atmosphere was explored here later in the scene but they should have come in with this expectation that, though this was an honour, it was dangerous. Having said this, the adaptation and the acting hit some really good notes, not least Flute’s final speech as Thisbe (Which, by the way, we would have been much better to stay with rather than constantly cutting back to the demise of Theseus – you need to see it).

Though I liked Maxine Peake (Titania)  and  Nonso Anozie (Oberon) for me the acting that sat best with the adaptation was Puck (Hiran Abeysekera) , Lysander (Matthew Tennyson), Hermia.(Priska Bakare)  and finally  Flute(Fisayo Akinade).

The one thing that really annoyed me though was the continual music track. For me the words are music enough, at least for some of the time.

 

 

 

 

The whole world can come!

In the meantime…… whilst online learning is far from ideal there are aspects of the Michael Chekhov technique we can explore and it means THE WHOLE WORLD CAN COME!!!!

ONLINE TEACHING FOR CHEKHOV TRAINING AND PERFORMANCE IRELAND

One to One sessions- Let It Begin.

If your connection to the Chekhov technique is fairly new then these 4 / 45 minute sessions will act as something for your understanding and practise. Perhaps you want to reconnect with the work after an absence. Above all we have to remember that Chekhov Technique is an experiential practise so much of our time together will be working on Spy back or Flyback, that is looking back on the experiences you have had when practicing the technique, though we will do SOME exercises in our face to face time together. Clearly we will be restricted somewhat but for now that has to be ok.

You will need to have learned an 8-10 line speech from a play you know well. I would prefer it not to be from a movie.

Session One: Qualities of movement and an introduction to Gesture
Session Two: Ideal centre. Directions of Energy/ radiating and receiving.
Session Three: General Atmosphere
Session Four: Psychological Gesture.

please email chekhovtrainperformireland@gmail.com for information on how to register and book.

FOCUSSING SESSIONS FOR THOSE ARTISTS WITH SOME CHEKHOV EXPERIENCE (GROUP)

This pause in our inability to meet together to practise and develop our acting skills through the Chekhov technique, is also an opportunity to really focus on our practise in the technique, to take more responsibility for it rather than simply getting a buzz from the workshops, which I know is a massive learning tool in itself but it is not everything . So yes, in a sense this might give us a breathing space to give us a chance to focus personally on our relationship to the technique and how it lives in us.

Each week each participant will undertake to do at least 20 minutes per day practising and focussing on a principle of the Chekhov Technique and keep some notes of their discoveries which we will share in our on-line sessions. these on line sessions might be 40 minute checking in sessions and talking through our discoveries. (it’s ok if you don’t have any) For this first four weeks I propose that I suggest the four topics and suggest a few exercises to go with them.

I will not charge for this organising and facilitation for this first month because I want to see how it works! We will start by using Skype I wantabout 8 people but may expand it later and do longer session discussion groups. There are a lot of possibilities here and we should not be downhearted about it.
WEEK ONE : The Dramatic Imagination. Developing our imagination for creativity …working with novels , short stories. Chekhov’s image work with fairy stories.

WEEK TWO Concentration on working with object images to create character. ‘Falling in love’ with the object. Working with images. Making the image larger or smaller

WEEK THREE Working with Energy. energy body. Expanding and shaping the centre.

WEEK FOUR General Atmosphere. Working with a short poem or song . noticing atmospheres in your daily life… The Atmosphere of Quarantine for instance.

email chekhovtrainperformireland@gmail.com

Being In The Room

The Michael Chekhov acting technique, with the movement of energy in the body as one its central tenets, requires you to really be ‘in the room’ when you are working with people. It is hard to express the sensation I feel when teaching, as if I am moulding the session with the help of the participants, or like a boat, steering the class into the wind but aware that some discovery by either myself or the group can send us off into different waters. It is a communion with every single person in the room.

I have been holding back from teaching online partly because my internet coverage is so inadequate – on a Zoom conversation with colleagues the other day I watched everyone as their faces became degas dabs,  their words turned  into the sound of piano keys, then every so often I caught a sentence or two before finally being  cut off. It was upsetting and frustrating particularly as I thought I had found a way to increase my speed and I am still working on it . I am sure these things can work and be embraced, but for now big classes are not the way forward for me personally. One thing I want to do is develop and make time for my own practise and development in the work as I did when I began to train.

For me right now the tools of the Chekhov Technique are as much about maintaining and expanding our sense of mental well being as they are about developing our skills as performers I have used many of the elements  in applied drama to help people communicate more effectively and importantly to connect up voice, body, imagination and feelings which makes us into more whole human beings. I am making short voice exercise recordings for radiating/ receiving, breathing and voice. I am putting them on my FB page ‘Teaching Voice’ . These will include some Chekhov work. If you are interested, check these out (there will be six).

In addition I am seeking to run four sessions for beginners one to one, These will be on Skype and Face Time,  exploring the very basic principles of some of the work.  They will involve exercises and offline practise. email chekhovtrainperformireland@gmail.com if you are interested.

There will also be an advanced study group which is more likely to be a discussion/ development  group without camera, maybe with audio or just typing. … These will be small groups and be initially free . They will be conducted on Skype.. 

One to One sessions- Let It Begin. 

If your connection to the Chekhov technique is fairly new then these  4 / 45 minute sessions will act as something for your understanding and practise. Perhaps you want to reconnect with the work after an absence. After my own in depth training courses, i would go for months practising alone, before the next one. Above all we have to remember that Chekhov Technique is an experiential practise so much of our time together will be working on Flyback, that is looking back on the experiences you have had when practicing the technique, though we will do SOME exercises in our face to face time together. Clearly we will be restricted somewhat but for now that has to be ok.

You will need to have learned an 8-10 line speech from a play you know well. I would prefer it not to be from a movie.     

Session One: Qualities of movement and an introduction to Gesture

Session Two: Ideal centre. Directions of Energy/ radiating and receiving. 

Session Three: General Atmosphere

Session Four:   Psychological Gesture.

Focussing sessions for those with some Chekhov Experience(GROUP) SKYPE

This pause in our inability to meet together to practise and develop our acting skills through the Chekhov technique, is also an opportunity to really focus on our practise in the technique, to take more responsibility for it rather than simply getting a buzz from the workshops, which I know is a massive learning tool in itself but it is not everything . So yes, in a sense this might give us a breathing space to give us a chance to focus personally on our relationship to the technique and how it lives in us. 

Each week each participant will undertake to do at least 20 minutes per day practising and focussing on a principle of the Chekhov Technique and keep some notes of their discoveries which we will share in our on-line sessions. these on line sessions might be 40 minute checking in sessions and talking through our discoveries. (it’s ok if you don’t have any) For this first four weeks I propose that I suggest the four topics to give us a shape and suggest a few exercises to go with them.  The discussion will either take place in chat or with video or audio, which ever works. what’s important is that we connect together.

WEEK ONE : The Dramatic Imagination. Developing our imagination for creativity …working with fairy stories

WEEK TWO Concentration on working with object images to create character. ‘Falling in love’ with the object. Working with images. Making the image larger or smaller 

WEEK THREE Working with Energy. energy body. Expanding and shaping the centre.

WEEK FOUR General Atmosphere. Working with a short poem or song. noticing atmospheres in your daily life…  

Finally , I have been reflecting a lot about Michael Chekhov himself; how the world was in this completely turbulent and awful madness, violence and cruelty for much of his life. It seems easy to dismiss our work and disrespect the inner artistic development of our lives when ‘there are more important things to think about’.  We must not let that feeling win . Our creative soul is every bit as important as it always was, perhaps even more so. in times of deep crisis.

“The artist of today cannot be an artist if he is disconnected from the real life” Michael Chekhov : Lessons for Teachers