Tag Archives: Galway

The Button Moulder’s Breakfast – Tools for Fantastical Characters

I have just finished rereading Peer Gynt by Ibsen, which I understand was a play meant to be read. Its swirling epic nature makes it hard to bring to it any kind of earthy reality. It  has always struck me as a massive problem to stage, especially if you are not familiar with the specific Norwegian culture from which it comes. Declan Drohan and I are using scenes from the play to explore how we approach fantastical characters using the Michael Chekhov technique on October 8th and 9th here in Galway. It is always an exciting by-product that you get to revisit these plays.

The first production of Gynt I saw was unsatisfying because of ‘where I was at’ as a teenager when I saw it, and 60s and early 70s realism was king. I wanted to see the early part of the play as realistic, with Peer as a realistic figure albeit in a mythological landscape, someone with whom I could identify and recognise as the hero.  I wanted to like Peer and saw nothing to like, just a lecherous teenage thug who grows into a tyrannical arrogant monster of exploitation, and then in an attempt to find himself  in later life tries to evoke sympathies he doesn’t deserve. Had I looked at his character in a more mythological archetypal way, the play and production would have had  a holistic feeling and had a lot more power. Had I thought of him as one of the characters from the Ring cycle, or The Fool in the Tarot deck I would have immediately connected better both as an audience or as a character had I been acting in the production.

Paradoxically in a more recent production  (though still a while in the past) I saw  Peer in a shell shock hospital during/after the First World War and his story was a hallucination. To me this proved a disastrous concept, belittling the enormity of the play and literalising (or excusing) the dream like nature of the play. It left the actors with too many things to play. It materialised and belittled  the play, rather like when people say King Lear has Alzheimer’s or Macbeth is a psychopath. This is a very reductive approach to epic literature. It may yield something but it most likely won’t. 

So when we embark on these plays which are inhabited by fantastical characters we need to find something in the character with which we and the audience can relate to without necessarily bringing a feeling that we might meet them at the bus stop, if you you see what I mean. We need to find resources which are more than our personal egos. As actors we cannot use our immediate life directly on these characters. No one cares whether the button moulder prefers eggs or cereal for breakfast or whether he/she has breakfast at all. What they want to feel is the ominous nature of this character, their rage, perhaps their exasperation at waiting for Peer to change before the Button Moulder takes him away to melt him down into buttons to finally be some thing useful to the world in which he lives. they need to find their archetypal power. This does not mean stereotyping but something which unlocks something very deep. At their best, fantastical characters can allow us to explore things we would not have the capacity to explore. That’s why people put them in plays and stories. That’s why there are fairy tales.

Let’s play with Chekhov’s idea of imaginary centres. Perhaps the button moulder has an outworn scuffed button in his centre, at his imaginary heart. When I inhabit that idea, when I imagine that the character has at its heart this old button, the character becomes weak and strained….  holding things together with a few threads and a round circle of wood  as buttons do. He is old and needy. If I truly embody that imaginary idea a whole extraordinary character is created through my imagination if I am open to the image. These are the kind of things we as actors can explore when we learn to trust this process. Or perhaps his heart is a gleaming button, a gleaming black button, polished and shiny. That makes me feel gleaming and cruel. It gives me a different body shape, size and voice.

Often these characters are the bearers of qualities we can easily find through atmospheres archetypes and centres. These characters express intangible qualities and this is what Chekhov talks about, ‘making the intangible, tangible’

Our workshop, “A human heart for me” – playing the fantastical runs October 8th and 9th at University of Galway. email chekhovtpi@gmail.com to book your place. Tutors Declan Drohan and Max Hafler.

The Alchemy of Character

discovering

I am looking forward to my next in the room ‘liveday’ workshop here in Galway City which I am running with guest tutor Niall Colleary from ATU Sligo. After the first exuberant ‘liveday’ which I ran with colleague Declan Drohan which focussed on using the Chekhov Technique to connect to ourselves and the audience, this time we are going to spend the day working on connecting to the character and in turn to the other characters in the play.

For this we are mainly going to delve into the psychological gesture, perhaps the signature element of the Michael Chekhov technique. Like all of the elements, pg as it is called, has a phenomenal depth of intricacies and variations, but it revolves around a simple idea, that how and what we feel and the intention of our character, can be illuminated specifically through the body. The wonders of this apparently simple idea can unearth so many choices for the actor. The use of gesture can mushroom out into finding character journeys through scenes and whole plays in addition to our purposes to exploring a particular scene.

Another aspect of this character discovery is the how; how we respond to the other character in the scene with us and what does their gesture (or intention) do to the character we ourselves are playing? Perhaps it even changes the gesture we are doing. But let us imagine that we will not change the gesture for our scene but keep with that same one. Even in a long scene a gesture can hold true (even in a whole play!). It might be more dependent on what qualities or the tempo you invest it with. Let’s consider Macbeth and lady Macbeth in an early scene; do her taunts  ( a poking , pushing gesture perhaps) make him contract his energy? If her poking gesture is slow and deliberate how does that affect him? Is that the way she always taunts him, when he is not ‘manly’? Or Does his refusal to act initially make her more grasping and desperate ( more of a reach)? How does this affect their gestures to each other? How does it change the quality of their gesture? The gesture cannot be used like a frantic emotional fuel pump, it needs some flexibility.

In this liveday during the application section of our day we are going to focus specifically on how to take this element of the technique into practise so that we can act naturalistically but with the power of what we have discovered through the psychological gesture, still stay true to the gesture, the character and our interaction with the other actor, ‘ veiling’ to use Chekhov’s term, or concentrating the essence of the gesture within us so it still moves within us. This approach transforms our acting.

Workshops in the room

The first is called Connecting to the Actor/Character, working with Energy/ Pause/ Psychological Gesture using short scenes and short scenes. This workshop will pay especial attention to applying the work. July 9th. 10-4 tutors Max Hafler and Niall Colleary.

The second will be focussing on Connecting to the World of the Play and the Production.  which will focus on atmosphere, the Feeling of Form and the Feeling of the  Whole. Michael Chekhov believed that whilst there was a different contribution made by actors director and all theatre artists, that somehow there needed to be something of a unified creative vision. It was an essential component to creating a satisfying and powerful piece of theatre. August 13 10-4. Venue NUIG tutor Max Hafler

Each workshop will cost 60€ singly , €100 if you book for both.

email chekhovtpi@gmail.com

Exploring our Impulse – Chekhov courses

IT STRIKES ME THAT WHENEVER WE LEARN ANYTHING  IT IS USEFUL FOR US TO RETURN TO EXPLORE BASIC PRINCIPLES. And to do it without fear or favour, to treat our exercises with the same openness we found the very first time we did them or even beyond that, with even more spontaneity and wonder.  Practise creates ease but can also create a laziness or lack of attention in the performer rendering the technique nowhere near as potent. The Chekhov Technique is no exception to this rule .

Whilst those of us have felt rushes of imagination and sensation almost from the first moment we began to use the Technique and gasped at how we could find feelings and transform character, I found  myself that it was quite easy to get seduced into adapting a kind of ‘default’ mentality repeating movements moving with stock feelings ; this had to be worked through. Eventually through exercising the Higher Ego as Chekhov described it , what we might consider a kind of artistic eye on our process, we can discern and explore bravely at the same time. Peter Brook the famous theatre director and teacher, likened exercises to the weeding of a garden, how the actor had to continually ‘weed’ their creative patch in order to let creativity flourish. Musicians, dancers do not baulk at this – but actors can be a different story.

The expansive nature of this Chekhov work is liberating for a whole raft of creative activity, not just for acting . What working online with these basic principles can do can really encourage you is to be both alone with yourself working on the technique in parallel to working with the group and discussing what is happening to you when you do the exercises. So often in the room participants can become over- intoxicated with the intensity of it.

So for those of you who are going to join the four introductory online workshops, Practical Magic: Imagination and Body beginning 4TH MAY from 6 – 7.30 Irish Time (GMT + 1) run by my friend and colleague Declan Drohan and myself, we are going to explore Four elements of these beginning principles. The First is Expansion and contraction and the Six Directions, the second the Four qualities of Movement , the third Concentration, Images and Attention and the fourth what is known as the four Brothers, what chekhov saw as the Four basic essential elements for art. 

Join us. If you wish to sign up email chekhovtpi@gmail.com. Our first LIVE DAY is also filling up fast. Thats on May 28th in Nuns Island Arts Centre.

Both of these courses are going to be a joyous remeeting of some of the basics of the Michael Chekhov technique to reawaken and reconnect.

PRACTICAL MAGIC / IMAGINATION AND THE BODY  ONLINE MAY 4/11/18/25TH

A revisiting connecting up the body, imagination, feelings and voice which are at the absolute core of the Michael Chekhov approach.

Wednesday 6.00pm – 7.30 pm cost 85 waged/65 low waged/ 45 unwaged.

THE THEATRE OF JOY MAY 28TH 10-4 NUNS ISLAND ARTS CENTRE GALWAY IN THE ROOM

Activate – Connect – Radiate venue Nuns Island Arts Centre Galway. 

After our long Covid hibernation, Max and Declan invite you to a day long, celebratory return to live engagement.

We will explore breath, connection , energy, playfulness and ensemble . We will stoke the fires of imagination and begin to chart our course for future work….

Expansion with The Chekhov Work – New Announcements, New Courses

Though we are fully intending to start some in-the-room workshops over the summer , including a back-to-the-room studio day on May 28th here in Galway, for the time being there still seems to be a lot of support for online learning . As I have talked about many times on our pandemic journey, there are many pluses to the online situation but also some downsides. Though we are being told we will be able to shed the masks one of the great trials of last year for me was trying to teach voice in the room with masked students. It was completely counter intuitive. Recently I ran a voice class online …it was a delight. It seems to us that what is important is variety and also connection between the participants from all over the globe! Right now, Rena Polley from Michael Chekhov Canada and I are running a course on COMEDY DRAMA and TRAGEDY .

CTPI is making a few changes, one of which is welcoming Declan Drohan my colleague, Lecturer at IT Sligo who teaches on the BA in Performing arts, and the MA in creative practice, as a co partner in the organisation. We have been co-teaching together both in the room and online very successfully for the past few years and hope now to provide online, in the room, projects and hybrid classes teaching, sometimes together and sometimes alone . In addition we are hoping to invite other international teachers to work with us.

‘ I am honoured and excited about my increased role in CTPI. I see our legacy role as being to consolidate and and further deepen the possibilities of exploring the transformative Chekhov work in our live and online projects for our Irish community of actors, teachers, directors and facilitators , and our increasing international audience. I am looking forward to exploring how we apply the technique in all the varied settings our community work in , and exploring the possibilities of directing with the Chekhov tools, and incorporating them into our teaching and workshop practice.

Declan Drohan

NEW COURSES MARCH – JUNE

. MARCH 16/23/30 THE ART OF SOLO PERFORMANCE 

Using Brian Friel’s ‘Faith Healer’ , we will explore solo characterization  through application of core Chekhov technique approaches, including direction, atmosphere and polarity . We will explore the architecture of performance, that is the shape and three fold aspect of beginning, middle and end as it applies to any section of text. The beginnings of characterization – the character as a figure in a landscape, as yet undefined.

This template can be used by you to develop full , rich , embodied characterizations in your future work.

Choose one character and two short, contrasting extracts as a basis for our exploration.

3 2hr sessions , Wednesdays  6 – 8 GMT March 16/2330TH ONLINE

Cost 70 waged / 60 low waged / 40 unwaged. 

Declan Drohan

Declan Drohan M.A H.Dip.Ad.Ed. lectures on Performing Arts Hons Degree Programme at IT Sligo. Former Course Leader of Acting Programme at Conservatory of Music and Drama DIT Rathmines, Declan trained with Gaiety School Of Acting and Michael Chekov Europe. Recent acting work includes award winning short films ‘ The Date ‘ and Mr L’s Limbo. He is a member of the popular Dark Leaves Theatre Co vintage radio company. His directing credits include Cathleen Ni Houlihan at Lisadell House and the Hawkswell Sligo, and Frank Pig Says Hello and Beneath the Bone Moon at the Dublin Theatre Festival.

March 29/April 5/ April 12/ april 19. SPEAKING THROUGH THE BODY. 4 90 MINUTE SESSIONS . Using the Chekhov technique and a short given piece of Shakespeare, participants will use the body as a conduit to find truth and variety, particularly in the voice and text they are speaking .  EXPANDING CONTRACTING /RADIATING RECEIVING  qualities… using the body for Feeling and language….

Tutor Max Hafler Mondays  4.30-6 GMT

cost 85 waged/65 low waged/ 45 unwaged.

MAY 28TH…. 10-4. WE INVITE YOU TO RETURN! The Theatre of Joy (a one day workshop)

Chekhov Training and Performance Ireland

Activate – Connect – Radiate venue TBC

After our long Covid hibernation, Max and Declan invite you a day long, celebratory return to live engagement.

We will explore breath, connection , energy, playfulness and ensemble . We will stoke the fires of imagination and begin to chart our course for future work….

Looking forward to seeing you there ! Venue and cost TBA

4th May/11th May/18th May/ 25th May PRACTICAL MAGIC (IMAGINATION AND THE BODY)   4 90 MINUTE SESSIONS  ONLINE

TUTORS MAX HAFLER and DECLAN DROHAN

A revisiting connecting up the body, imagination, feelings and voice which are at the absolute core of the Michael Chekhov approach.

Wednesday 4.30-6.00pm cost 85 waged/65 low waged/ 45 unwaged.

My Kingdom For a Horse! -Opinion

After hearing great things about the Druid Shakespeare project which played in the tiny Mick Lally Theatre in 2015 where they tackled several of the History plays and which I sadly missed, I was looking forward to RICHARD 3 which played in the Town Hall Theatre Galway for a week before going to the Dublin Theatre Festival.  Everyone I asked who saw the play earlier in the week praised Aaron Monaghan’s performance but were less complimentary about other performances and other aspects of the production.

Aaron Monaghan is a very talented actor and made a cracking start as Richard but as the production progressed he seemed to get lost in what seemed to me a very unfocussed production in both style and direction. (With my voice teacher’s hat on, and on the evidence of last night’s show, he also needs to do some serious voice work on the later scenes). In the end though, a talented actor cannot stand alone even in a huge role and needs the full focus and guided support of the other performers. Too often I felt many of the smaller roles were not inhabited either vocally or physically and they looked lost. Consequently, there seemed no world created by the actors in which the play could live.

Many people might think that it is the set, lights, music and costume which provide this sense of a world, this atmosphere, but these elements only partly contribute to it. In any case we were not helped by the design in this respect and nor were the actors. In a forbidding industrial set, the actors inhabited the space in sparkly colourful ‘medievally’ costumes. This contrast between set and costume went completely over my head and did not seem to be embraced by the actors.

In truth though, it is the actors and director who create a strong sense of the world, by the atmosphere they create. (Michael Chekhov calls atmosphere, “the oxygen of the performance”). Too often the scenes at court particularly gave no sense of the viciousness, backstabbing  and jockeying for position which is there in the play from the start. Interestingly the play has the feel of a Jacobean play, sharply juxtaposing comedy with horror and tragedy, even though it is a fairly early work by Shakespeare. This Jacobean sense was well served by some good editing.

Without atmosphere the actors are like fish in a goldfish bowl with no water. And that was the overall feeling it gave me. Every so often, through many of Richard’s early soliloquies, in the scene where Clarence is murdered and at least the first of the subsequent executions, the atmosphere would pour in and I felt like I was watching something with some dynamism. The performance of Marty Rea was in large part responsible for this. His emotional power and sense of inhabiting the whole of his character is palpable.

The lack of atmosphere and passion in the later scenes with the struggling, angry and grieving women was extremely disappointing. Too often I was playing out the scene in my imagination in response to the text and thinking ‘wow’ rather than watching the performers perform. Why was this? There simply was not enough emotional and vocal energy in those scenes which should tear me apart as I watch them. Are we not seeing enough of horror on the news to get some sense of what women are going through right now, trying to ‘speak to power’? These scenes had enormous potential to make these connections but I did not feel they were there.

In general, the characters did not go on a sufficient journey within scenes nor through the whole play. It is very tempting to believe that the energy of this play is Richard’s villainy but it is also about the culpability of those who choose to serve him and those who abandon him – a situation mirrored particularly in Macbeth as all the lords, one by one, change sides and leave Macbeth to his fate.

In terms of a character ‘journey’ let’s consider act 4 sc 4; the scene where the three devastated women meet. Queen Margaret, when asked to teach them to curse, says:

“Compare dead happiness with living woe.

Think that thy babes were sweeter than they were,

And he that slew them fouler than he is.”

She leaves and the two wronged women then encounter Richard on his way to Bosworth. Richard has to deal with his mother’s curses. Indeed, her emotional journey seems to be that she learns to curse effectively, to channel her rage. When she leaves, he tries to get Queen Elizabeth to collude in getting her own daughter to marry him. The scene with Queen Elizabeth, who has had both of her other children murdered by Richard already, is very challenging as she tries to express her rage and save her child and herself. In my opinion, Richard is beginning to fail once his mother’s curses have been delivered, perhaps even earlier when he is abandoned by Buckingham. Without this real diminishing of his power, how can he then be visited by ghosts and delude himself into saying he was not a murderer?

Finally, I would have to say that, whilst I understand the acoustics of the Town Hall Theatre are tricky, having worked there myself, there were too many times when people did not root their breath sufficiently. Without breath, all the passion and intensity for the character will not radiate into the space. Without rooted breath you may also harm your voice. A voice coach would have been far more use than a movement director in my opinion. On that note, there was some very embarrassing “ensemble” work and ‘fighting’ which I would have been ashamed to see in a youth theatre, never mind a heavily funded project going to the Dublin Theatre Festival.

Ultimately, as a friend of mine remarked, the real star of the evening was the writer. Whilst I still enjoyed the evening I was only occasionally moved. I was baffled as the obligatory standing ovation took place, and I and my friends stared open-mouthed at a lot of backs.

The Body of an Actor

IMG_4561Gesture is the result of impulse. It comes from the core of our desire to express something. But often we have forgotten this. We are kind of dislocated and unconnected to our bodies, to the feeling impulse of our bodies. This is our challenge when we approach the psychophysical technique of Michael Chekhov, to connect the energy and feelings to the body. Once we have gone some way to reconnecting this impulse/ body pathway, we can find the intention through the body. To find everything about the character and make us fuller human beings to boot.

This understanding of Chekhov’s practise is not necessarily assisted by ballet, acrobatics or fencing either, other than the fact that those disciplines make us proficient and aware of the body. Sometimes, in fact, if we have been trained substantially in strong physical disciplines like dance, it can initially be a bit of a hindrance. The gesture-training Chekhov encouraged is not some kind of offshoot of dance, though it can be used as an effective element tool within modern dance. Chekhov technique is about using the body as a vessel for sensations and feelings; to use it as a conduit for energy. If all this sounds airy, it isn’t. As soon as we start to practise using the body in this way we sense an openness within us to a wealth of possibilities we might never have thought of. Chekhov’s approach can be very specific as to the energies moving in the character by using this technique.

Psychological Gesture is a way of finding the intention of the character. What is the character trying to do and how are they doing it? It is not a realistic presentation of the character but how they are inside; what is going on for them.

Let’s suppose you are playing Antigone in Anouilh’s play. What might we say she is doing through the play? There are many ways to find this gesture, but why don’t we say she is trying to show/offer/expose something. She wants to show people their hypocrisy. She will not compromise.

See how this works for you when you offer something in front of you in a bold gesture with both hands, your hands palms up. When I did this, I tried to keep my arms out straight so this offering was not open but really focussed, as she is. I repeat the gesture over and over. I see what/if the gesture is generating a sensation inside me.

How do I feel when I make this gesture? I find that I feel defiant, a bit sanctimonious, both strong and weak at the same time. I am offering/presenting but at the same time I am almost offering my hands to be tied or restrained. My breathing gets sharp. Then I start to make a sound.. Then I say “I am going to bury our brother.” I feel this voice in my neck.  I feel a strong chest with energy focussed in my heart area . The offering makes me feel sacrificial but also self important. It makes me feel as if my energy is moving backwards even though it appears that I am aggressively moving forward. This one gesture gives me a whole psychology, not a heady discursive one, but something that is moving strongly and powerfully inside me, a psychology I can act with.

Then, supposing I use the same gesture slowly. I feel more vulnerable, more defeated… Amazing.

Before we consider that finding the psychology through a movement might be considered simplistic, let us consider our own lives. Consider how we are constantly meeting similar obstacles and dealing with them with the same energy in the same way over and over again. Psychological Gesture can be a physical manifestation of that very life reality. Indeed, most of Chekhov’s elements are about how we live our lives.

Of course, Psychological Gesture is not something we show as performers to the audience. It is a tool, an element of the work.

Within the body lies so much of who we are at any moment. It is quite literally a channel through which all our energies and experiences come. It is the manifestation of our history and even though so many of our cells are replaced and replenished through our lifetime, there is something that is manifestly us. It is alchemical and impossible to define, so much more than ‘body memory’. When you align this psycho-physical work with the use of a vibrant imagination, your potency as an artist flourishes.

Finding it in the Body, a weekend workshop in Michael Chekhov Technique led by Max Hafler Oct 12 [evening only] then Oct 13 and 14 [10-5] will be held at NUIGalway,Ireland. There are still a few places left. email chekhovtrainperformireland@gmail.com for further information.

“A little piece of Art”

IMG_4174CHEKHOV TRAINING AND PERFORMANCE IRELAND SUMMER SCHOOL

“A little piece of Art”
Finding a sense of form in the character, the piece or the play through the Michael Chekhov Technique.
NUIG Galway
August 16-19th 10 – 5.  Tutor Max Hafler
For Actors, Students, and Directors .

Michael Chekhov said that everything you did onstage, every exercise, every improvisation, every scene, every play needed a ‘feeling of Form’ and a “feeling of Entirety”. Each piece had to be “a little piece of Art”. We are going to explore these two fundamental planks of Chekhov Technique to enable us to create more believable and focussed characters and performances using the psycho-physical technique which through the imagination and the body takes us to new realms.

Getting the whole understanding of form in our bodies is crucial. How do you start a scene? What are the dynamics? And how does the scene end? And what happens in between? Working with tableaux, gesture and transformation, we will work with a yet to be decided text. This technique will give a strong grid on which to work, yet at the same time give you as a performer/director an immense freedom. It is both completely practical and helps the performer to express the invisible.

It is going to be exciting.

some thoughts

Of course these ideas  of Form and Entirety are not new in consideration of art but they are too often dismissed or ignored by practitioners as outmoded or outdated, that they make smug or complacent art, as if life could be tied in those kind of parcels. I would question whether theatre has the slightest responsibility to imitate life in quite that kind of way, even if this was true.

Form and Entirety [or wholeness] are related of course but are not quite the same thing. I would say that Feeling of Form is something the performer practises that becomes an inate performance skill  whereas a Feeling of Wholeness is a state that is discovered both as a character and also through the experience of the whole play.

We have to accept that Form and Wholeness are woven into our lives. The two things we know for sure are that we are born and we die; a beginning and an end. Because we understand this on a fundamental visceral level, it is not surprising to me that we often look for this quality in art. The end we seek in our plays and films is not necessarily a comfortable easy end; nor is it always an attempt to just have our own values expressed and validated. Remember, if you look at a play or film with an ending which appears inconclusive, the creators have decided that ending for a reason.  It is still an ending.

In my real life experience, endings are beginnings with new challenges and obstacles and pleasures. At least they are changes – the start of a new consideration, some new way of being. The end is a stopping and pausing point. however, in a work of art it offers a deep satisfaction because it is a pinnacle, a place for the characters to rest and take stock before they move on. In a fictional narrative, it leaves us with a feeling, a question and a resolution all rolled into one – if it is powerful that is.

So, in addition to needing a ‘Feeling of Entirety’ for the whole piece of art, we have a feeling of form for the character. What about the beginning, the start of the character’s journey? What are the energies and desires he brings into the space and how does he seek them?  Chekhov always talks about How and what  being the most fundamental questions which lead to the answer of Why someone does something.

When working on entrances and exits in another workshop, we observed that the moment you entered was one of your moments of ultimate power. The audience are intrigued by a new energy, by a feeling that the arrival of this person is going to change things, alter the dynamic. Finding a starting point through psycho-physical exercises is a nuanced and exciting exploration. Finding the end point gives you somewhere to go.

booking details

If you are interested to book for this course , please contact chekhovtrainperformireland@gmail.com. the cost of the course is €180 for tuition only

 

 

Acts of Love

IMG_3514

radiating and receiving exercise

Through June here in Galway, I am running a series of evening workshops called Chekhov and the Carousel of Love applying aspects of Chekhov
Technique on scenes of love, in the widest sense. The next bit is going to be a little philosophical but rest assured [if you are planning to come!] the class will be practise and application and not too much talk!

Love is a way of emanating our energy; whilst there are all sorts of different kinds of love I suppose I like to believe that love is an openness, a generosity of spirit , in Michael Chekhov terms a generous open gesture to a person, a belief or the world. I think it was Leonard Bernstein who said that teaching was like an act of love. What I understand by that is that when you have a real connection with students, you are sharing in a very deep way. You are ‘radiating and receiving’ to use Chekhov’s terms.

I feel this sometimes quite extraordinarily after I have been teaching, as if a weight has been lifted from me and I feel more open and connected to everyone. This happens to many people I am sure. Particularly, there is something that happens to me when drawing my students into focussing on radiating and receiving, that I feel a light go on more strongly in myself.

From a performance point of view I actually feel this movement of energy is a visible-invisible thing, like atmosphere. When used effectively, the audience get a sense of something which the actors generate and enliven. No one can see it exactly but it is there in the room.

Love of course is very complex, and there are many types of love, but this ‘how’ you are in love, does not negate or invalidate the power of a particular state of being, called ‘love’.

Chekhov speaks of Romeo and Juliet and asks how the performers can perform the balcony scene without the atmosphere of love, this movement of energy between the two. This might sound fanciful, but I can certainly recall those love-filled conversations of my youth where absolutely no one or no thing was relevant to me but myself with the other person. It is quite literally a bubble, or an atmosphere, if you like. All things can exist within that bubble; jealousy; sex; warmth; rage; vulnerability but these things do not negate the bubble itself, which is filled with love.

I suppose where this idea of focussing on scenes of love came from was that in the recent production I did of Twelfth Night I was moved and overwhelmed by the young actors’ energy and commitment to romantic love. Twelfth Night explores love in many of its connotations; gay; straight; devotional; romantic; lustful but with that openness of love comes attached the other energies; doubt; fear; confusion; idealism; devotion to name but a few. This focus on ‘love’ did not negate the frantic behaviour but it acted as a motor for everything that happened.

IMG_3934

Malvolio observed by the clowns

Chekhov and The Carousel of Love is running Tuesday and Thursday nights through the month of June in the Blue Teapots in Galway City . email chekhovtrainperformireland@gmail.com for more details. the first session is on June 5th.

“A little piece of Art”

IMG_4174CHEKHOV TRAINING AND PERFORMANCE IRELAND SUMMER SCHOOL

“A little piece of Art”
Finding a sense of form in the character, the piece or the play through the Michael Chekhov Technique.
NUIG Galway
August 16-19th 10 – 5.  Tutor Max Hafler
For Actors, Students, and Directors .

Michael Chekhov said that everything you did onstage, every exercise, every improvisation, every scene, every play needed a ‘feeling of Form’ and a “feeling of Entirety”. Each piece had to be “a little piece of Art”. We are going to explore these two fundamental planks of Chekhov Technique to enable us to create more believable and focussed characters and performances using the psycho-physical technique which through the imagination and the body takes us to new realms.

Getting the whole understanding of form in our bodies is crucial. How do you start a scene? What are the dynamics? And how does the scene end? And what happens in between? Working with tableaux, gesture and transformation, we will work with a yet to be decided text. This technique will give a strong grid on which to work, yet at the same time give you as a performer/director an immense freedom. It is both completely practical and helps the performer to express the invisible.

It is going to be exciting.

some thoughts

Of course these ideas  of Form and Entirety are not new in consideration of art but they are too often dismissed or ignored by practitioners as outmoded or outdated, that they make smug or complacent art, as if life could be tied in those kind of parcels. I would question whether theatre has the slightest responsibility to imitate life in quite that kind of way, even if this was true.

Form and Entirety [or wholeness] are related of course but are not quite the same thing. I would say that Feeling of Form is something the performer practises that becomes an inate performance skill  whereas a Feeling of Wholeness is a state that is discovered both as a character and also through the experience of the whole play.

We have to accept that Form and Wholeness are woven into our lives. The two things we know for sure are that we are born and we die; a beginning and an end. Because we understand this on a fundamental visceral level, it is not surprising to me that we often look for this quality in art. The end we seek in our plays and films is not necessarily a comfortable easy end; nor is it always an attempt to just have our own values expressed and validated. Remember, if you look at a play or film with an ending which appears inconclusive, the creators have decided that ending for a reason.  It is still an ending.

In my real life experience, endings are beginnings with new challenges and obstacles and pleasures. At least they are changes – the start of a new consideration, some new way of being. The end is a stopping and pausing point. however, in a work of art it offers a deep satisfaction because it is a pinnacle, a place for the characters to rest and take stock before they move on. In a fictional narrative, it leaves us with a feeling, a question and a resolution all rolled into one – if it is powerful that is.

So, in addition to needing a ‘Feeling of Entirety’ for the whole piece of art, we have a feeling of form for the character. What about the beginning, the start of the character’s journey? What are the energies and desires he brings into the space and how does he seek them?  Chekhov always talks about How and what  being the most fundamental questions which lead to the answer of Why someone does something.

When working on entrances and exits in another workshop, we observed that the moment you entered was one of your moments of ultimate power. The audience are intrigued by a new energy, by a feeling that the arrival of this person is going to change things, alter the dynamic. Finding a starting point through psycho-physical exercises is a nuanced and exciting exploration. Finding the end point gives you somewhere to go.

booking details

If you are interested to book for this course , please contact chekhovtrainperformireland@gmail.com. the cost of the course is €180 for tuition only

 

 

Next

35

working on a piece with actor Mary Monahan [photo John McHugh]

Auditioning is a stressful time. You can feel you are being judged, that the world is against you, that acting is a cruel competitive nightmare where you hold none of the cards. Where you have only a few minutes to prove something. Try to see it as an opportunity. This is an easy thing to write but not so easy to do. As someone who has worked as both a professional actor and  director I have seen this situation from both sides.

Desperation is a scent you can inadvertently put out and it is almost certainly lessening your chances . Forced nonchalance (which often happens as a result of desperation) suggests you do not care about the project and you would rather be somewhere else. The trick is to stay open without either of these excesses.

A way to deal with all of this is to work with Chekhov’s ideal centre. Use your imagination to create that openness. Work with personal atmosphere. Focus the breathing.

Find out everything you can about the project and the director before you go. Be informed but not smart ass. Be careful not to talk too much. ( very difficult for me!) Above all try not to give your interpretation of a role . You cannot second guess what the director wants from the character and if your interpretation is very different you could be lessening your chances.  The thing is that often your ‘interpretation’ is not an interpretation at all, just something to prove you have a view on the play. Flexibility and openness are the key here too.

Auditioning is where the concerns of the commercial world and your artistic integrity collide in a difficult moment. You need the money, you want to be wanted, you will make the best of whatever it is. These feelings inflate the situation and often stop you from giving of your best. On a practical note, come prepared. If as a director, you are asked by an agent for ‘sides’ when you are auditioning for a play like THE GLASS MENAGERIE, the actor is already creating a negative impression. This actually happened when I was directing a professional touring production a few years ago. I felt sorry for the young actor, whom I felt was depressed and unprepared. I worked with him even though I knew I would not cast him. After twenty minutes, when he was showing some serious improvement, I said as kindly as I could, “I would advise you that when you come for an audition again, that you are at this level when you come in.”

When I am auditioning as a theatre director, I want to look at how the person works on a role. This is very important to me. Some actors look horrified when I ask that question but how else can I work with them if I do not know this? I want to know in the broadest terms. Do you find the character directly from life experience? Do you work primarily from the text? Do you work primarily through imagery and the body? Maybe you could give me an example? As an actor, there is no right thing to say here. A way to answer it might be to explain how you worked on another role you did.

If you can, and some people might say something like ‘I work with my instinct’ then a director needs to use their own instinct to decide.

CHARACTERS AND AUDITIONS , a weekend audition workshop using Michael Chekhov Technique working on the process and audition pieces will be held at NUIG from the 6-8 April. The cost is 80€. email chekhovtrainperformireland@gmail.com to book your place.
go to http://www.chekhovtrainingandperformanceireland.com for more information