After plenty of thought I am keeping our Chekhov Technique courses online until January 2022. I have made no secret of the amazing discoveries we have found in this new format and you can read up on them below in other blog posts if you would like to join us; a way of keeping your creativity open and alive and giving you more of an opportunity to share your discoveries with like-minded others. One of the things I have found is an unbelievable focus and an easier ability to analyse and flyback after exploring, through experiencing the exercise and sharing what we found there. It feels like a great way to learn and really go deep into certain aspects of the technique.
Of course it is not the same experience as working in the studio, which has its own visceral advantages; but it’s convenient , cheaper and enables participants to really touch base with like minded others and learn with them wherever they might be in the world. Eventually I want to work with my students both online and in the studio. That would be my ideal.
We can be in no doubt that in addition to all the other things going wrong in our world right now I feel our creativity and imagination is really under attack and under resourced; the cuts to arts in education are a real marker for this. In many academic institutions there has been a real lack of resourcing of proper hours for training as if it was a very low priority to learn how to perform, say, before you start teaching others and researching something you have experienced mainly from a lecture or a book. This tragic downgrading of imagination, practical training and the lack of understanding of how to train it is not only in drama but in many other areas too. It is a path of great error. We have to remember that the imagination is revolutionary in itself and is seen as provocative and dangerous because it encourages creativity and individuality.
There was an amazing moment during the First Night of the Proms which I saw on BBC4 last week (before a modest audience this year) when they performed Vaughn Williams’ Serenade to Music conducted by Dalia Stasevska and performed by the BBC Symphony Orchestra when, after the final bars , a long pause was held; silence fell but the vibrations were still filling the air. It was incredibly moving. It was, to quote Chekhov, the “Intangible made Tangible”. Those vibrations would not have been as powerful had there not been a live audience and even though I was not in the Albert Hall myself I felt that difference. On the other hand, the fact that I could feel them even though I was not at the actual event said something too about our power to reach into the tv or computer screen and make the powerful connection we need to make.
So what have we to do? The road back is so complex. Many artists are courageously training and performing with masks and working with all the restrictions. In my college courses, I will be working in Voice and Chekhov technique in-the-room working within the restrictions. It means, unless protocols change, I will be able to experience my students but rarely see their faces; no one will be able to make physical contact. Performances too need to be courageous, stirring their audiences to some kind of action. In addition pieces are being created online; powerful stirring pieces. I directed one earlier this year, an online project called THE SACRIFICIAL WIND by Lorna Shaughnessy, previously a theatre piece . It has been shown a few times and soon will be presented in a couple more festivals. I was sent recently a short film called LOCKDOWN DROWNTOWN , with a number of dancers in their rooms, expressing and exploring lockdown through amazingly powerful dance.
But in addition to making projects, we need to continue developing the depth of our work. Over the year I have been running online workshops. Like everyone I stumbled a little in the beginning, but from the start I felt that all who participated were doing something for their health, their creativity and in some ways something subversive, united and powerful, as if we were performing in a cellar with limited rehearsal and resources and modest audience in some repressive regime – and that we were all, and will continue to keep something alive. This might sound grandiose but it isn’t. There is a heroism here however we seek to open our hearts and practise our art.
So the first workshop up is a free intro one on Psychological Gesture on 26th August 5 – 6.30 . All you need to do is let me know at firstname.lastname@example.org giving a little information as to your interest and back ground. It need not be a long note but i want to get a feeling of whether the workshop will be something you will feel comfortable with.
Second up starts the next day on the 27th entitled We Have To Be Full of Music which I am running with my colleague Declan Drohan. there are a series of four workshops of two hours each. there is a payment for this one
WE HAVE TO BE FULL OF MUSIC.
Rhythm, Tempo, Colour and Wholeness
Four sessions online with Max Hafler and Guest Declan Drohan
4.00 – 6.00 (27TH AUGUST – 17TH SEPTEMBER)
This quote from Michael Chekhov highlights the idea that we need to treat our plays like a piece of music and we want to explore this using the short play by Yeats, CALVARY. Made up with Chorus of Musicians , spoken solos and duets, Calvary is an ideal piece to explore this aspect of the Chekhov work. Rhythm, Tempo and a Feeling of Wholeness which comes from feelings, images, form and the direction of energy, gives our performances life. Harnessing this energy is crucial to creating work on both stage and film and making connection. For performers, directors and explorers.
COST 80 WAGED/ 60 part time/ 45 unwaged
Thirdly there is No Small Parts which is more of an application class for training in the real, more commercial world of the working actor.
A modicum of experience of the Chekhov technique (no more than 12 participants)
4 Sessions : tutor Max Hafler 27TH SEPTEMBER – 18TH OCTOBER
4.00 – 5.30
Small roles in plays or films can be an extraordinary problem for an actor and yet the majority of us are in that situation. Our ego tells us we have loads to offer and yet we have to fit into this project with energy when we may have only a few minutes stage/screen time. Yet our contribution can be enormous and telling under the right circumstances. Looking at Brecht, Shakespeare, Chekhov and a modern TV script, we will explore and share this dilemma using the Michael Chekhov technique to find the balance.
COST 60 waged/45low waged/ 35 unwaged
Climbing Into the Language. Working with Chekhov Technique and Voice
10-30. – 16.30 29th October
Working with Keats’ Ode To Autumn, we will be exploring the poem by ‘climbing into the language ‘ – a wonderful expression by one of my participants this year. Working with atmosphere and several of the techniques I have developed over my years as a director and voice teacher which mix Chekhov and voice training methods. We will rediscover the power of the word, its direction, colour and atmosphere both alone and then in phrases.
A limit of ten people for this workshop
35 waged/20 unwaged