Tag Archives: Psychological Gesture

The Emotional Gym -Psychological Gesture

IMG_5164When I was first teaching Chekhov Technique, one of the participants said,  in the break, “This is like being in an emotional gym.” Of course it is always like that when you are working with an acting technique to some extent; you are seeking the ‘how’ to play the character; the ‘how’ to find the feelings; the ‘how’ to find the way they respond to things. This search inevitably involves some courage.

But to my mind, nothing exemplifies this exploration more than working with Psychological Gesture. This psychophysical practise where you are finding the sensations and the feelings within your body that will suit the character has a visceral quality that gives you the feeling you are digging into your soul, at the same time as expanding your sense of self. As we found in the recent course, it gives a sense of the personal at the same time as something universal.

IMG_5126Whilst the gesture encourages you to find the character’s intention, it does much more than that. Through working on qualities of movement you can discover how the character fulfils their intention, and through working on directions you consider where the characters energy is moving. You also find the character’s rhythm, which is not necessarily your own. By sustaining the gesture and radiating it outwards you can really explore what the character is feeling intensely in your body.  It is a vibrant, varied tool of discovery that produces a transformation and intensity in the performer which is for me unrivalled.

I always start by making sure the breath, body and voice are connected. I do this with every Chekhov class I do now. A common challenge to my mind for participants is not connecting the body and voice, and nowhere is this more of an issue than when practising gesture. There is no point in doing a psychological gesture and then having a weak voice which is not connected to it. You are exhausting yourself for nothing. I always liked Joanna Merlin’s idea that you made the gesture first, got happy with it, then you let out an open sound that came from the gesture before you started to speak the text on that bed of sound.

I have not unflinchingly taught gesture for a whole weekend for a while because I know it is demanding, and when you have a group with mixed levels of exposure to this work, to do two and a half days of gesture alone can be daunting. For those only touching the work it can put them off and, because there is less focus on the imagination than in other areas of the Chekhov work, the participant can feel less in control of the sensations and feelings the gestures invoke. However this last weekend I was determined because I am getting tired of just brushing the subject on a three hour class or at best, one day. Michael Chekhov Technique is so holistic that whilst I find it important on short courses to provide adequate prerequisites to lead the participant to the principal area we are exploring, it’s also important that we do not leave the principal area left with inadequate time to explore in depth. Everyone, I believe, who runs short courses has this conundrum to deal with.

IMG_5128PG, as it is called, is so crucial, so valuable, and I was determined that everyone would get some idea of the demands of it even though it was challenging. They would get a sense of their limits and know that was where they had to go if they wanted to break through them.

I am pleased to say that there were several breakthroughs of this kind and people explored new aspects of the way they might play a character and what the rhythm of that character might be. The rawness and truth of the rough scenes we presented finally were an excellent example of the power of working this way, reminding me that there is no way out but to find that rawness from somewhere, to deliver it safely for the performer, but to none the less, ‘go there’.

The next Chekhov weekend , THE REST IS SILENCE, takes place in NUI Galway, November 9-11.The 9th is just an introductory evening, the other days are two full days. We will be exploring the universe that is the pause, the silence, so often just an empty pose in performance, but we are going to fill those silences and make them to speak to us and the audience.

email chekhovtrainperformireland@gmail.com to reserve your place

Psychological gesture and rhythm


In the Chekhov sessions this week we have been working a lot on Gesture and its power to create not only intention and feeling in the character but also have offered us deep insights, particularly into characters normally seen as villains and fiends.

I am working with three different groups right now, There is a Shakespeare group, using Chekhov primarily working with THE DREAM, an Intro group working with THE CRUCIBLE, and my own theatre group working on pieces of Shakespeare for modern environments and shortly ANTIGONE by Anouilh.

For those not so familiar with the Chekhov Technique, I would define the psychological gesture primarily as a way to find the deepest intentions of the character in a scene, a moment, or even through a whole play through bodily expression, through gesture and movement. It can also be used to explore layers of language ( something we explored extensively in the Shakespeare class this week) and many other things too! Refining and practising the gesture evokes sensations and feelings in the body , which clarifies and further explores in a visceral and dynamic way what the character wants and feels.

What continually astounds me about the use of psychological gesture as an acting tool, is its amazing creation of nuances and layers, however simple the gesture is. In the Intro group, two of the students playing Abigail and Mary in THE CRUCIBLE were working on gesture. The two gestures they created were remarkably similar, with elements of a pulling embrace and a holding. Later we pondered on why this was, and I offered the idea that the two girls both needed love, respect and power in the community ( their pulling hungry embrace), and then came this tremendous opportunity for revenge on a society that totally disrespected and restricted them. But their need is to be loved and respected. The idea that Abigail and Mary both want this, despite being so incredibly different , and that somewhere in all the horrible things they do is a deep search for love and respect is an amazing thought, and offers the actors something one rarely sees in this play when it is performed.

Similarly when working on the Shakespeare Theatrecorp project, one of the actors is working on one of Goneril’s speeches , and she came up with a remarkably similar gesture to the student working on Abigail, and it suddenly provoked in me a whole raft of feelings when I was watching, that Goneril too was somewhere searching for love and acceptance even if it was buried deep inside her. Where else does her love for Edmund come from?

I remember once when I was doing my A levels long ago the class was asked to write our first essay entitled The Evil of Goneril and Regan. I went on an imaginative flight about what it must have been like living In Lear’s court, what a tyrant he was, how he really only seemed to care for Cordelia in the first place ( and what victory it must have been for the other two to have got rid of her in such a humiliating fashion). How suddenly the two ignored sisters got the chance to get their revenge. You get the idea.

I got an F. I was devastated. This was because apparently this was not the style or approach I needed to use to pass the exam at that time. I did back up my imaginative flight with some textual references, but my efforts were considered far too fanciful.

Back to Psychological gesture. Of course both Abigail and Goneril could be described as manipulative, masking their ‘evil’ with a smile . But there was something about their similar gestures which struck me, that for both of the characters there was a need there.

It then made me ask the philosophical question of other characters who do bad things, how many of their vile motives and actions come initially from some kind of human and needy desire which is not necessarily about cruelty and destruction, even when these things are the result. For some characters of course this vulnerability is very deeply buried, and I am not trying to exonerate evil acts here either in characters or real people. But this analysis of these gestures reminds me that things are not so simple. I will return to this theme when I start working on Antigone I am sure.

The other powerful thing given through Gesture is an inner rhythm, which is one of the most amazing things of all; that in working with the gesture through the speech, the actor gets a feel for the character’s rhythm, one that is often completely different to her own.

If we consider our own lives, there are many situations which provoke us, and we feel the push and pull of a possible response. If your boss says something you don’t approve of, for instance, a movement happens in your body, things stir, as you weigh up whether to wade in and say anything or not . Whilst these inner tussles appear to be intellectual, they are initially responses to your impulses, backwards and forwards, so we very often find ourselves, particularly in emotional situations, with a certain pattern or rhythm. The use of Psychological gesture works deeply on this level, and as one of the actors said last night, just because you have the same gesture for a speech or character, you can still vary the gesture in quality or pace to create different sensations and feelings for the character.

What an enriching and thought and feeling provoking week!