Last summer I attended an International Conference for Michael Chekhov teachers in Grozjnan ,Croatia, hosted by Michael Chekhov Europe and the Michael Chekhov Association. Grozjnan is an extraordinary medieval village set on top of a modest mountain with stunning views of the countryside. The weather was extremely hot and we spent the first part of our trip exercising and sharing practically and in the second part of the conference, sharing our work either through discussion or exercises. It was truly international and well attended.
Most importantly of all it enabled us to meet and talk. I met many of the teachers who had taught me, and some of those I had trained with. I am sure I am not the only person for whom it drew together a lot of strands of our lives. We had talks by many of the amazing artist practitioners and the way in which they had employed the Chekhov work in professional theatre and applied drama. I also became aware of many new translations of Chekhov’s seminal works To The Actor and On The Technique of Acting in different languages. It was a truly inspiring week.
Most of all it gave me a sense that I was not so isolated in teaching this work. It is strange, tucked away on the west coast of Ireland feeling as if, for the most part, you are really ploughing a furrow alone. Importantly too, it stopped me feeling an eccentric, or some kind of exotic fruit. But now we see that this work is being taught more extensively in theatre schools and universities in the UK, the rest of Europe, the US, Asia and South America . It is also wonderful to see a new wave of books being brought out either directly about the technique, or books like my own Teaching Voice and the one in preparation which, whilst not being about Chekhov in total, uses it as the bedrock of all of the work.
Furthermore I feel the Chekhov work is more than an acting technique (in fact all acting techniques are more than that) it is a way of seeing and experiencing the world. It makes you more sensitive to image, atmosphere, to the energy in your body and to the way you respond to others and they to you. As it emphasises the role of the artist as someone who “makes the intangible, tangible”, it affirms that the ‘intangible’ actually is something that can be experienced, felt and transmitted.
Chekhov technique involves us in a very different idea of what the actor is; an instinctive artist who delves deep into the imagination; that acting is not solely interpretive but creative in the way a sculptor, composer or a painter is creative; the action of the character is like the clay or the paint for a sculptor or painter. This sits well with many theatre makers who are often the authors of their own work, but even when this is not the case for you, Chekhov Technique gives you the feeling that you are creating your own totally original version of the character.
Team teaching, it seems to me, is like jamming in a musical duet. But you also need to be really organised, respectful of the other and above all, to be aware of the rhythm of the other person. You need to be careful not to undermine or ‘pull focus’ when the other teacher is in full flow. and remember that the students are making the connection with the other teacher when they are teaching and not to disturb that too often, as it can be very irritating to the student. I think there needs to be an acknowledgement that the two teachers are sharing that connection with the class. If there is something you feel needs to be said about something the other person is teaching, you bide your time until an opportunity appears when you are leading or you forget about it because it is not the end of the world if, at that moment, that piece of information is not passed.
The students get more contact time, because you have more time to side teach a little. When there is only one teacher and you focus on one person you are very limited as to the time you can spend with them, because you need to be mindful of the atmosphere and focus in the whole room. When you are team-teaching you can absolutely relax.
Declan and I are hoping to do another workshop together some time this year. Thanks and gratitude to him and also to the exciting full-throttled group who came to Enter,An Actor and produced some powerful and invigorating work.
The next workshop is The Epic Voice, February 15-17 and Imaginary Body, Character Centre March 29-31. There will be workshops in May, June and a summer school in August. email firstname.lastname@example.org