MICHAEL CHEKHOV

THE PSYCHOLOGICAL GESTURE

An Acting Methodology

MICHAEL CHEKHOV
(1891 - 1955)
Michael Chekhov (1891 - 1955) was the nephew of the playwright Anton Chekhov, and was considered by Konstantin Stanislavski to be his most brilliant student. Indeed, Stanislavski once said that if anyone wanted to know what he was teaching, they should go and see what Michael Chekhov was doing. Michael Chekhov had a great talent for characterization and was a keen observer of the creative process. After heading the second Moscow Art Theater Studio, Michael Chekhov traveled and worked extensively in Europe in the 1920's and 1930's, and in 1936, established a training studio in England where he laid the basic foundations for his technique. In 1939 Michael Chekhov moved to the United States where he taught in both New York and Hollywood. In 20th century America and Europe, most approaches to acting stem from the pioneering work of Konstantin Stanislavsky, whose methods resulted in a revolution in the way an actor prepared and presented a role. Although Stanislavski's research continued throughout his life and evolved for beyond mere "naturalism," his impact in the United States is largely limited to the "Method" School of acting. In fact, Stanislavski and his disciples moved far beyond the original ideas. They developed a theater that was bolder and more expressive and imaginative, using psychophysical techniques that liberated and excited actors, but have only recently begun to be appreciated and understood. The psychophysical approach is most fully exemplified and realized in the work of Michael Chekhov, considered by Stanislavski to be his "most brilliant student," and widely recognized as one of the greatest actors of the 20th

century. Michael Chekhov developed an approach to acting that affords the actor access to resources within himself-feelings, will impulses, character choices-that are based not merely in personal experience as they are in "Method" training, but on the actor's imagination and physical life. Chance and history have deprived the larger acting community of Michael Chekhov's work. Michael Chekhov was warned to leave Russia in 1928 at the height of his acting and directing career; his productions were too experimental for the Soviets and were labeled "alien and reactionary." Michael Chekhov then spent eight years in Europe, acting, directing, and teaching, but was greatly handicapped by language, political factions, and the threat of war. In 1936, Beatrice Straight invited Michael Chekhov to establish the Chekhov Theatre Studio, a training program for a company of actors at Dartington Hall in England. In 1939, the threat of war with Germany caused the group to relocate to Ridgefield, Connecticut until it was forced to disband because it lost its male members to the draft. In 1942 he was invited to Hollywood, where Michael Chekhov became an acting coach to the stars, acted in many films, published his book, "To the Actor," and taught a group called The Drama Society. Prominent actors in Hollywood who studied with him were: Gary Cooper, Marilyn Monroe, Gregory Peck, Patricia Neal, Clint Eastwood, Leslie Caron, Anthony Quinn, Ingrid Bergman, Jack Palance, Lloyd Bridges, and Yul Brynner (who wrote the preface to Chekhov's "To the Actor.") But, Michael Chekhov died in 1955, before his work became widely known, and by then the "Method" was widely established as the dominant approach to acting and training. Other prominent actors who did not study directly with Michael Chekhov, but who benefited from his techniques are Anthony Hopkins, Jack Nicholson, and Richard Kiley.

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first encountered work of Michael the Chekhov a firsl'yeargmduate as student Temple at University in 1985. teachet My Kevin Cotter, sucha pfofound had impxct methxtI began on immediately to applythework. within onlytwo weeks, wasspellbound its effectiveness a bit awedby its I by and previously having of actor.I rvondered why ease, been subiect to fie internalsufferings theMethod only By the to I hadnever heardofa "psychophysical" approach before. 1988,I hadapplied technique critiperformances, Philadelphia whichresulted a fewrequests mypeers teach in to cal acclaim several in by I them.Mth more experience a practitioner as thana teacher, wasn'tquite surc how to go aboutit, though thought mightaswell giveit a try Myhandftl of students thattimeevolved a six-month I I at into waitinglist by thetirneI arrived NewYorkCityin 1990. in Theif confidence meprovided in opportunitiesto improve teaching testsome myideas. my and of Asdemand private for coaching increased beyond capacity,stflrggled a cenlralquestionr I with Vhat program graduated a world-class amI hainingthese artists do? to Having recendy ffom conservatory and in Yorkmarket, realized mybest I that landed agent wasprimarilyfocused television theNew an who on years thetheatef possibly behind I wasn't goodenough me. tbr in couldquite be a singer dancer or Broadway, thehandful classical and of theater companies NevYorkpaidverylittle,if anythingat all. in my doingcommercials chevrolet, for whichpaidmorefor hvodays' work So,wasI to spend latetwenties in thanI made an ntircyearin thefteater? I struggled thisida.Was to "train" actors with I verymuchfie wayI vas trained, whichultimately constituted overkill,giyn I reallydidn'tned levlof trainiDg do commcrci'als daltimeTV? that that to 0r To After whatwasI trainingthemfor?To be unemployed? waittables? a lim,I foundit difficultto tak theirmoney whenI knewtheywerestruggling surrive. to like some mymore of ambitious students approached about me forming ensemble. sounded ar This yet a goodidea,but I wasnot so surethatNewYorkCiryneeded another newtheater among three the hundred lifty thatalready and existed andofi-0ff-Broadway. emphasis thework of Michael offour on would certainly distinguish butI wasntconvinced would enough. us, that be Chekhov Aftersome thactors, drawing upoll mysixyears expedence Theatre a of at for discussion among that wiftin us New Audience, turningto Mr Chekhov's and suggestion theoeativespirit growsstronger when do things othe6withouta "selfish we for notein it," wedecided offerartistresidencies three to to public New YorkCity schools of charge. free lollowing training worl$hops devloped teaching that thir skills,6e actors visitedtheschools teach to aesthetic skillsandrehearsal strategis partnership in with publicschool teachers each once veek for seveml weel$.Thepilot project sucha success it has was that pfograms evolved oneof dremostcomprehensive successful into and ans-in-education cu[endy in the States, reaching nearly four thouszurd teachers, children, theirfamilies all fiveboroughs zLnd in of United "Stqcsof l,cffning"'," New YorkCity, pilotactivity Florida Pennsylvania. progr n, called with in md The wlLs inspired illr Ch0khov's bv rrlisticIrilrciples employs nnd lf(iststridned hisxpl)r(,x(ll in
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MR. CHEKH0V HIs TECHNTQUE AND

Any apprcach acting,let to alone psychophysical a approach,lends to misinterpretation itself or confusc particularly application, whenthat application dedved is from thewriftenword.For this reason, will t focuson themeaning "psychophysical" its relationship psychological gesture, of and to whichis an.unalgamthatembodies nearly of theseparate all components fte Cheklov of technique. to saythatwhat Not youreadhereis beyond provide overall interyretation, myinteftionis to cladt/ oul terms, but an framcworkfor psychophysical development, attempt wrilten and a descriptionanapproach, to which indisis pensable a good to teacher Perhaps of theaspects Mr Chekhov's thatis themost one of work compelling thathewasanactor is justa good great first-not one,buta one.In a 1993 letter rne, to Bobby Lewis descbedhimas"thc greatest actorI ever He genius thecentury" saw." is known curentlyin theSoviet Union "theacting as of Mr Chekhov, a consummate whoexpednced ebbandflowof success deprivation, actor the and sough to "go heyond" plall[right andtheplayto embody character themostprofound the the in wal.s. Michael Chekhov Konstantin Sl.anislavsky's ArtTheatre 1912, theage twenty Moscow in at of ioined one,andwithinmonths irvitedintotheFirstStudio, was where appeared tvalk-ons laterin in he and majorroles. Behveen l9l3 and 1923, Chlihov's reputation a creative indepndent as and thirkcr increased drarnaticallv In 1923, chel''hov became director the Second the of Studio the Moscow Theatre of A11 upon Stanislavslqi's request. governmnt, hc wir"s Soon,his innovations became threatto the Soviet a und ,.lnd in dcnounced 1927 an"idealist" rnystic. as and Moscow newspapers Chel,.hov"a sickartist" cited as "alienandreactionary." 1928,directorMa{ Reinhardt ln iNited Chelhov emigrate Germany. l'or to to years, "wandered"rin pursuing lifelong seven Chekhov Austria, Berlin, Paris, Latvia, Lithuaria, and his quest ffeatehis owntroupeandmethod actortraining. to of Upontheinvitation SolHurok,Cheklmv of c'.une Arnerica, to where metBeatrice h Sfnight,whogenerously suppofied Chekhov's vision. By 1938, Chekhov's method been had eslablished.fie fallof 1941, Chekhov In the Theatre opened a NewYorkstudioon 56thStreet New in YorkCiW. n'asunable sustain but to ilslfwithoutft finmciil assistanc Beatrice of Stmight. Between 1943and 1954, Cheklov staned nineHolllwood in films.In 1945, afterreceiving an Academy Award nomirution hisroleasthepsychoana.lNt for in Alfrcd Hitchcock'ASpellbound,Ch resumed teaching technique young his to Holl),wood actors. MariltnMonroe, zuld JackPalance, AnthoD were arnong studnts. 1955, his In Michael Chekhov ofheaft died failure hisHolllwood in homc Quinn Today, theraredozens organizations of exploring technique overtheworld. his all Ir Chekhov'.s technique, "intemal"and"extemal" inexorably th are linked,somuch thatscp,,l!.lr so ingthem rvould moreanacademic be exercise than'artistic expression. separation Such might necessln be for discussion training, thestage and but bares inevitable every the truth time:If dreactorcannot reconcik theunification the"imer" and"outef," acting likely bstflrined, of his is to nnimaginative, llat. and ''Psychophysical" to theuoilication refers lies ofthebodywith that withirit,lhough rray all it al)pcll attirnes, indced canbctruc,thatthebody soulcanbeirdependent erchothcrThe"so l ' and il and o[ is thatintangiblc reservoir within thatacquires us expedencest canbeimagincd, Thev dxntght aboul, ol itcluitllv cxpeliencccl. a s1lory Like sl0N, soulacquires thq ingredicnts rvhich spiritrvillrvoIk. upr-rn the 'lhe spiril is lhul Nhich thcbodv tiLkc uscs to lction, drrwing thercsourcesthcsoul. upl)n ol lltt, rl)irll xtrxlA:lrrr.llt.r, rtrtr..trtrl rlrnrh rlr'urrs cr'rx:llr\rrnrs, lhcsrrrrl \rlI(lt r':rrrrrItrkr.
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interplay, inhabiting eachotherin sptce,neiForactors, soul,spirit,andbodyarein constant the ripplingilto ftat whichcamebeforeandall thal folther onebeforeor aftertheother,like seawaves whichwemightreferto asr"/tsotlot t these ripples, lows.Thesoulandspiritrequirethebodyto express offwlings "sensations" feelings. Sensations physical afe wouldsuggest movement that awakens of chekhov The bumps upfeelings, from realhfeandothcall some responsesstimuli, Soose to like bumps. goose ,uld The between sensation ersfrom the imaginatloz.These sensations out feelings. felationship draw couldbefunherfrom thetru6. feeling mightat first seem insignificant, nothing but the reaching audience the through theireyes. Other times, on slage, movement sometimes is visible, penetrates hearts, of that movement invisible direcdy is and their suchasin thecase sensations llarc out moving. is sobecause This lhe The is even beyond stage. l,,Ltter still movement, if theactoris notvisibly the satue,butliving moment. example, For whensitting, actoris nota foozen lhe actoris "radiating" every at pauses impulses become loaded rvithvavsof imaginative withinthatshape. thactorlivesin space, l\s in row. memory couldprovide. Inaginea character sjtting anicyrcomon death The dcherthananysingle possibly possibilities sensations, gestures, radiations numerous innmte. and are and for inner values we involve from theinside, if it Thebodyis capable expressing affayof psychological of an inquiryandanal)6is. Such inquiryimplis posa even drese if values soplentiful are theyde&intellectual vhen pmcticing staccato between "inner" and"outer"-at leastin the beginnilg. the sibledistinction even thoughwe movement, vhich is shar!, abrupt,we shouldtry to experience qualityinwardly, this what is it like inwardly experience part of your bodynovingin a sharpway? to any beginit outwardly pattems way? to thought abrupdy think in a black-and-white or what is it like psychologically change awaken will Perhaps with onebodypart,suchasa handor arm.Thesharymovement eventually start Eventually, wholebodymustbe inco.pothe inner dloughts impulses and appropriate thatqualiqa'? to of rated.Newfeelings sensations and shouldnot belimitedonlyto lhoseareas fte bodythatafe already have habitof practicing staccato a and You a withinyourawareness in ninewithyourimagination. miSht quality yourarmsbecause you're goodat it or becausefeels most That's it $e comfortable. finefor in you access the to this now,but eventually, nust awaken qualityin youl wholebodyif youwantto have gesture,hallmark the possible of which inneror "psychologica.l" a widest range expression, includes of chekhov technique. at moment, youneed explicitly but not Great acting comprised movement, "gesture," every is of or you gestures every already doing for moment essyouwantto. Thisis because areintuitively ur develop 'rliveat every is moment; the thernwhnyouare actingat yourbest.Anygoodpedormance ph)6ically pe!'former radiating inwardly is nergy even rvhen rest;asMatha Graham at said,we are still dancing psychologica.l gestures, "inner gestures," helpftrl whenyouget or are even whenwe are still. Generally, "core"emerges the ftom or core The stuck a moment iustisn'tworking thecharacter's is elusive. on that question, "V4lois thischaracter?" answer usually in fte arche[peof thecharactr. lies The

"thefirst,""T!pe"means "imprint impress" "pattern." to or or These impressions,fie psvchologi as "Because aplcar discovered, spontaneously theunconscioustheformofimages. arise from in ftey Jung asunivrsal, colleclively owned images, slrnbolism their evokes similar feelings, raises sirnilar issucs, lnd constellates similar behavior wherever arise enter theIifcof an individual a culture," they and into or notes Robert Johnson. A. Imagine, example, archetl?e theVarrior Wemightsee image for fie immediately, if wc of ar even have expericnce one, no with if it were lprinted ourconsciousness.Waxriot i almost a.5 on The Pdsoncr andSkeptic.arc buthuman beings mad ofcombinations are up of rypes, making many-facetc us trpes, a-s thefollowing in example Johnson: from Years a young graduate ago student came workon hisdreams me,anda masculine to with ligure bcgaa appear to repeatedly hisdreams. student in The spontaneo invented orvn sly his mmefor lhisfriendly companion showeduniversal male that a character called "de tribalbrother" He him Thedrearner histribalbrother and livedamong t|ibeof Vikings ,n ancient in llurope. l in age ,and companion waffiors went bnttle In some drerms he his were and to togethex others, In lhey were he^lers. onethey In discovered a radiiurt magical .uld woman awhite i[ robe became who thedreamer\ conso( Together, wentthrough thestruggles numerous they zrll and discoveries of yorngmanhood. dreamer's The friendship hisinnerfigure soclose, feltsoreal,that with was and hefeltlonely whenever hadto gofor many without he days seeing in fusdreams.4 him

Thisarcherype, widl all of them,is psychologically as For complex. the actor,axchetl?es bc cm powedrltools inspire character protomandits innerLife, to a because archeq?es spontu such will ncouslv awaken in sensaton the bodla snsations whatthebodyremembers canrepeatThe arc and leelings less youNelf experience ate reliable harder recreate. cantryto corrumnd and to You to a feeli0g on thestage, theresultwill probably inanistc andrna4inally but be at successful best.Butyor ciurilsk yourimagination show thearchetlpe dreVanior Often, result (l) a strong you to of the is image that (2) "outer," sensations yourbody fill the"inne!" ald (3) a dcscribes the resonating throughoui that protoq?e is uniquely own.5 your character that otherexamplesarchet include StatMagicitu of the ?es you Addict, Lover, Prostitute, Prophet, Clown. ofder to awaken ard In sensations, will haveto pfncticc imagining them-ar exercise will become that morefunfim labor youdo it oftcn if enough. youcanaskquestions thespirit of play.A,sk Yourimagination respond yourself, "Vho is will if in mycharacter?" you Remember, are goingfor fte character its core.ThcPrisoner deathrory for at on cxample, might luvea wayof rv'.rlking mzurnerism is padcular hispersonaliry or that to Archet'?icail hcis fte Pdsoner ElemeDtsbehavior personality beadded of and laterlt's important begin with ciLn to pers(n thcchnracter is corer root,thimpulse. at thc Thinkof it astheoriginal impression whofie o[ is.Bccarcful layering persona.lity toosoon, of on traits becauseis possible youwill liDit thc(huF it that

AND PROTOTYPES ARCHf,TYPES

Archettpes folms,s],rnbols, irnages have are or that universal neaningandinspirean originalmodel,or protoq?e. protome, thecase he The in ofan actotis thecharacter creates. in cspecially Archet!?es iDourdrearns, works art,andhistorically aspects of ofourculture, appear (ireck Th0 tool./f(tJ.'tttt',tDs in su(hthings pi nli|lgs. lilcmture, rcligiurs xnd rcDrescntations.ancicDl irs
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young fall trap Ronos intois thatof theLover-a dull andunimaginaTheunfonunat thatmany gives At a recent several my of workshop archemes, on tiveresponse thefactsthatShakespeare us. to possibilities Romeo: for dive$ecolleagues up with thefollowing carne ethnically . Alleycat . Tomcat . Gambler . Businessman . A Playa . Salesman . Snoop Dog Doggy . Peacock

years! you, To who hasbeenaroundfor four hundred responses a character to \lhat wonderful preconceived ove$implfiedideas thecharof and mightbesterotlpes, whichareusually some them of terms,but seekto if or actedstics t'?iry a person thing.Don'tbe alarmed youthhk in stereomical that You not you of gomoredeeply choices aboulthepersonality thecharacter may agree before startto make your entirely will sornething Youruniqueimagination create with the above responses, firLt'sokay. but hail, ard They appeaq cook,conjure, predict-arnong ifyou let it. Inaginethe\itchesin Macbetb. own directh is the \Yhat yousee? do Certainly Prcphet among possibilities-quitea different otherthings. witch. tion thanwhatwr mightthink of asa nore sterotlpical yourself the character, as is imagine a of onceyouhave sense who thecharacter (thearchetJpe), is Let's "vhat do I want?" close Pay attention whatyourbody doing. to asking, andwalkaround space the pushing? lh smallest movements of clutching, EYn closing, imagine PdsonerIs yourbodyopening, the som as Does suggest sonof a push, if thearchelpe thefinge$should considered. themovement be wanls escape? to of overary discussion thetopic.Don'ttry to labelor whatever bodyis doingshouldbefavored the push.Kep simple. it Behavioral moveIf talk too muchaboutwhatis happening. it's a push,thenit's a that on smoking, canbelayered later It's thepurityofyourinitialimpulse etc., ment,suchasscratching, produces innerSesfure.

chekhov never intended our acting be brainless. fact,if it were,our choices for to In wouldlack clarity. quality orderto beeffctive our creative Buttheintellect musthave supportive a in in work.7 Assuming calculating hasbeen in Intllect, moving the nind subdued, favorof lheHigher begin about guided theimpulse thespace, by ftom whatyou char"cter wanti.A teacher pla)'rnate padicularly or is you yourbody responding helpfulat thispoint,because will need feedback to howard in whatways as is pafticularattention those Pay to seemingly meaningless movernents mightexprcss want.A litde that the snall opening thechest of area mightsuggest, example, yourcharacter for that wants expose or hcr to his hea11, to "open."Imagine ol suchanimpulse coming fromour archetlpal Prisoner. Here, wouldhavc we a chzLracter perhaps committed who has violent andyearns admit reveal acLs to or ill something fte dcq)pefiormll:cetnDead cstrecesses hissoul.I ctn't helpbut bereminded Sean Penn's Msn of of exqdsite you Walking,Nhenl imagjne archet)?e way. ftll erploration theimpuls provid withthc the A will this of you information need determine "opening" theartisticchoice youfportraFl. to if is for

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of wants, a an that onceyouhave archetlpe feelsright to you,andyouhave sense whatyourchamcter the yourbodyis probably Ifyou'renotcarefl , howeve! "sneakaheady tryingto tll yousomethhg. then couldput a stopto it andkill sensation. mind,asChek:hov cautions, ing andsniffing"anal),tical refe$ to?lt's arlthingthatklls yourenthuand that Mlat is the"sneaking sniffng"weasel Chkhov you prcbably play-a thought impulse, inhibiting habit,thatprevents or bornof some for siasm creative like, suggesting thoughts in yourbody. porver uscanbestrong, Its over fromexperiencing sensations new is "That concentmte," "Mybelly or "t'm notgood is of enough," actor sobad,andbecause him,I can't a role ofyourpsychology play major if youareunable can nobody it." This sees side toobig,andI hope instead what of the what to focuson thepositive, imaginative, youlike aboutthisor thatactoror yourself to youdon'tlike. tnsecurity anypart of the bodycanresultin enough self-oiticism inhibitthecrewith promqpe-klled foreverbecause a critical impulsearisingftom an of ation of your own character agenda is anl,thing creative. that but points is bornof theheart does have des[ucnot the and out, The"Higher Intellect,"6 chekhov as spirit quality the"cold,calculating heart" thecompanion thecrcative is of mind." This"thinking tive of hclpflrl, md The Intellect curjous, is in rnd should alwavs invited p,uticipate theprocess. Higher be to powcr sl)ilil. hut defering thcs!'nthcsizing oflh0 cr('iltilc to suppoflivc. aDdvsis exlctingi gcntlc, lls is ^,^/ /,, A, h,l l'1,a,

V4 le working on.4,4fi&ummer Night's Dreamwithtwoactors theChekhov of Theatre Ensemblc playing gesture. for example,l asked actress the Helena she what wanted order invoke inner in to the Shc provided longanddetailed goingon andon until I eventually stopped andsaid,"All a answer, her iust dut mightbetrue,but tell mein onewordor lesswhatshewants." brain,having Her toiledovera complicatedintellectual answcr,didn't have enoughinformationto be succinct.Her body,however |esponded immediately, and At spontaneously, visibly. lcastto m. pulling-the movments verysmall,butthey ller armsandfingers wereclearly were werethere.At pulling firq she didn't understand thetinist how ofherfingers arlthing dowi6 Helena, had to untilshc rcalized Helenawants that Demetrius-she needs Demtdus much theAddict so that came mind an to as people archet]?e. Imagine Helena theAddict. suremost thatl as I'm would mdidonally not approach it thatway, if youpenetrate thecoreof who sheis, youmightdiscover dreAddictcouldbc a but into dut possibility, is depending howyourdirector thinking herin thecontext theproduction a rvhole on of of as Now, actress the needed experience ssence pulling toward butnotwithjusther to th of him her, lrnqers. Thetask before nowwas developgesture embodied essence "pull"in herwholc us to a that the of body. feetrcmained on fte ground-important so thatthe shape fie gesture easily Iler flat of can hr going place rcpeded without off-b'alance.started movementtheopposite ofthe"pull"in ordcr We the in poladry.3 armswrepushed to lliveusthegreatest Her with ouh{'ardlv her torsofull ftont. Herfcctwcrr "pulled" herarms, rboutthree a halffeet fron with hcr and apa(.Slarting thisposition, then she shifting "A,trhhhhhhhhhhhhh."e bit of sidecoaching weight herback foot,asshe onto rcleasedsound: a After a she involved whole elentually the body, including head.10 her gesture seemed to her, wofked theshape, whensheeventually a had that dght we on tempo, nl <lrrlitv "l ofthegesture, il inspired asshe until her said, want Demetrius." discoyered r stxccilk We that quality, though tlllrlitysecmcd to herthzu mofelegato truer a even legato moresensual, was which nright hirvc becnoul choice weremained thesurface had at levelof theLover It is impodlxrt play to witha gesture bit before a reiecting because zurswcr it, the might in hol lic ';Ls il is doDc much in its shape. Repeat gesture least radiaiinS theendof cr(h as the at three times, at foflr rnd i viting thc voice along.You can start out with a release sound,such irs irr of ''Ahhhhhhhhhhh,'rr Let l lowing gesture colorthevoice. thcvoice the to evolve larguiulc- l \ra0t to -xnd thcnl)lxy gesturc. circh lX!rctri0s withothcrlircso[ lextwiththc With sn(ccssive radiatiul, lh( gt.sttrr'c ht'r'rrrttt' sill ntr I ' / , , 1 ^ ,(1A , / A , " ,t ' , q l ' , ! , " ' , . /G , r t - ' , , ^ " , / / A , l A ' " 1 ' " 4l h ^ ' /
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the pausing theendof each to repetition allow radiations times, at the at thre Repeat gesture least yourself gesture andnow, speak some the inwardly, you. doing the to flowthrough walk around room,see physically thrLn morepowerfirl inwardly becomes discover doing$e gesture that of yourlins.Yournight pulling,professing lovwith a her as inwardly Helena described as above: theAddict, doingit. Imagine from a s}'l'Llpy " lover thanwemightexpect rndition need bums--{uite a different that she of repetition radiation her 8estufe, and the of oncetheactorgenrated essence "pull" through as that in a and arvakened desperation urgency the character wasas amusing it washeartbreaking pull, arld evolved solidsound eventually onto with subsequent theactress Allowing bleathto relase each performance remarkably and richgesture. resulting complex emotionally Her was her speech through "pull." The"pull" wasa distillation morecomof and of all energingfrom fie embodirnent simplicity plexelements. lh Demtdus, wereableto stage we with was \rlhenher "pulliug"Helena combined the"pushing" sensacreated innerlife, andher bodyawakened the minutes. actor's The imagination scene forty-five in had the Because actors approached underlying the ald tionsof feelings werecomplex compelling. that memory personal or substigesture, an psychology thescene ratherthandLrough ernotional of through lives they tutionapproach, wereableto stepout of theplayandbackinto theireveryday withoutharmto psychology.'r theirprsonal scholto /(lt Thisapproach served well whenwe hadonlyfour weeks stage g lear, whichsome us of time. impossible stage, widl aniofiniteamount reheaNa.l Notonlywasit possible, to even arsconsider otherdisacting, arnong Award, whichcitedtheoutstanding received Off-ofi-Broadway an fte Ensemble tlnctions. perfonnances you that or momenti lheir coreSestures, canachieve to Bydistillingcharacters scenic final them.In Helena's that complex it wouldtakreamsof paperto describe are so psychologically desperation, Ioss, mdiated hope, despair, rejects thactress her, in before Dernetrius moments thescene need him for hef moments, wexperienced yearning as in rage, confusion, decisivenesshr fleting and wor d havefailed-not to mentionthatlhe things,sheprobably were I to askher to feelall of these process as a.S wouldhave been unpleasant it wouldbeineffective,

world.Thebodyis constandy knowledge, expressing feelhgs, awakenhg and sensation thc in acquiring whole feet, innerthighs, theoblique muscles areoften that leglected. Our body: toes, back legs, of and for on rvorldhasbecome civilized we oftenforgetthatwe inhabitoul bodies onlymoments dte so that find upsidc spectrum time. of Ifyouspend lotof timesitting a dovnwith,vour crossd, a way hang legs to down pretend bea bat. and to

BAsIc BnRCISES
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pq'choplqAical alignment. encour" They basic exercises essntia.l establishing maintahing ar to and areas mightbe stiff or not panicularly that agetheimagination strsainthroughthbody, to awakening palctte many and corn' cxprcssiye.a visual As artist's contains colors, too,mrstanactor!body voice so, p sea palene "psychological of values." vithout thiskind of psychophlsical development, acbr the nrightfall victimto, "But Mr l)ireclor, | 4m feelingthe inner life of the character," the director and "But respondJ, Mr Actor, thatb whafs not coming across." job Theactor's is notto iee|butn express embod!dl xspects character a theatrical and of in context.Ilow canhedothisif thecharacter wants move a legato andtheactoris onlyableto express to in way himself forms? onlyis it impossiblc, interminably Not but ffr.rstrating actor,director, for through staccato xndaudience. psychological andbest values enable hner gesturc Basic exercises attheEnsembledevelop used to inchrdel
. Staccato iuld legato

. llving,floating/florving,r' molding, radiating

. Expansion/contraction . Ease, form,beauty, thewhole and

in Ilecxuse basic the exercises atmospheres thoroughly and are er?lained to tbeActot Md irss]bscqucnt incamations, describe followirg I will the exercisesorder provide idea in to an ofourparticuhr xl)proach drem. to

GETTING STUCK
doesn't awaken question what's wrongif mygesture arises whenw0rkingwithmovement: Theinvadable (l) gesture, afld that seen theyears: thearcheqpe, over There twopossibilities I have are anlthing me? in qualities sort of inspi$tion,or (2) needto be modified until youfeelsome rhlthms,tempos, other or preliminary to $'orkneeds be "in the and youarenot sufliciently yourbody"to experience gesture, some done. you often a Thefomer is easir dealwith, because few adiustrnents, minor,couldawaken in to on of youarn't"in yourbody," couldbea stiftlssbrought byyears habitual there new If entirely ways. gesture: Releasing in useof the body. this is true,thenit is too soonfor youto engag psychological goodapproaches do this to are be in extrareous tension the bodyshould pdotityone.There many or whichmakewonderful movement trainings(suchasAlexander Feldenkrais), throughconventional body, should made inhabityour be to Michael ChekhoY effort Every to exercises of introductionsthebasic in movement training exercises engaging other or while doing basic the or "bein yourbody," ()tll('r of-vt)llr "ln yourbody" with ilsp('(:l ofvourinner worldcoc\ists evcry mcims evcrv that aqrect H,+,^-^t /,, Atr,"r

/foccot"
part llcgjnbymoving partof yourbody a shary Invit to one in way. another of thebody ioiD way; in, iurdthenanother, until thewholebodyis involved. Blink theeyes a staccato twist in thetorso, reach withthearms, open legs, lengthen spin. the ard the Breathe releiusc rud sound. whatis theexperience whatsensations feelings like? and accompany movement? the Vhatkirtlsofsounds come ofyou? out Variations include adding language improvisational in circInlst'nnces.

/ ertofo
pirfl wlvri lDlite.rDothcr of lJ('lliD nroring l)lrt of v()uf hy 0nc ho(ltin r srloothandsciu lcss (v('s a I(liltowx\;twist liliIk in thcbrrrly thcrr nntl iLrrothcr, lhr \\tolr li(xlyis i0vol!c(1. th(' IDlil f l , , 1 . . , ,( t , t ^ . , . | ' ' , . t , . : . - , , ^ | ( ; , / , . , , , , t , , / t A . J 4 , , . / t , , l h , , t I /

panicular attention thetorso,reach withtheanns,opnthelegs,andlengdenthesphe.Pay move Breathe release and sound. whatkindsof to thelowerbody, inviteit to ard searnlessly. in sounds come of you? out vadations include adding language improvisational circumstances.

Qot fic.cfton o1 /en1ofion

yourforehead thefloor,armsandhands on Makeyour bodyassmallasyoucanby placing yourself tiny asyou can.Allowbread into your bodyard floppedto the side.'7 lmagine as in release sound. \trhatis it like to beso small? V/hatsensations awakened yourbody? are

you It be as note:Ultimately, technique any shouldliberate to be brilliart andinspired. mustnever used r substitute yourtalent, like anygoodtechnique, fof but, mustbeused et arl" it. Yonmightfindthere to me rolesthatyouplaybrilliandy with httlesuchdevelopmenl, youwill needa tech queto inspire But Even should to playthecharacteq scene, be the thc ]ou for rolesthatarelessaccessible. then,yourgoa.l playa^s to imagination, thealrical and trulh-using thetechnique beautiftrlly possible-with audacity, as never a substitute it, whichis perhxps greatest for the example thepartof cnable suchexpression ard a.s nership between "inner"andthe"outq " the work, it will be necessary tlain with a goodteacher to If youare goingto undertake chekhov fie Mr That things Most artists camotderive thalthey all need ffom book, noteven CheL:hov's. said,sorne to to kccpin mindwhen wo*ing: . Approach protoq?. archetlpes. is likely to leadyouto a uniqu It chdractffthrough . Do movements theinside.what sensations, ftom feelings, impulses awakened and are withinyou youare moving? your bodyin entirelynewways. it feelsstrange odd,thenyou'rc If or when Use (iustdon'thurtyoursel0. explodng territory new . Release precluded Mr voice speech hiswork untilhis and from brcath sound. and Though Chelilrov Theatr Ensmble shown intehas that collaboration Rudolf with Steiner work at theChek:hov our grited breath process anyoder part of thc as awareness asmucha part of the psychophysical is body. not forcebreathout,manufacture Do language, indulge impr seto mrke thereleasc of an audible: Breathshould. streamout ofand throughthe bodyas a rcsalt ofthe nouement,simiol of larlyto thewaya sighcomes ftom an impulse relief.lt rnightbe a goodideato do some out yourChekhov withwhomyouhave workedto see what exercises a voicandspeech with tacher hcor sh to sav has about it. gestures l'sychological should: . . . . . . . . llc archetlpal irvolvethewholebody. and (icneraily involve feetflaton thlloor. two middle, end. lle wcll-shaped a sense beginning, with of and lnvolve breath sound. and in limbo(b chancter a whole, fragment it, or a mornent thescene. the as a of llc Delformed inwardly whe[acting. lJr fepeated times succession radiation three in with between rcpetition. each you. Inspifc

E (7"+,yion o1 /tn1 ofio n''

yourbodyasbigdsa shining Make sar-arms, legs,andfacespread apart. Allowbreath into yourbodyandrelease whatis it fike to be solarge? whatsensations awakened are in sound. yourbody?

(ontr"rfto n/ fry a"n1 c"1Qe1lure ion

Thistime,beginwithyourtwo feetflat on thefloor; weight distributed thatyoucanmove so yourbodysmallin a waythatfeelscomfortable you.Allowthesensations Make for with ease. your Then,growde bodyinto expanof contraction awaken, do not squeeze muscles. to but You sion,and end the gesture with the sensations expansion. can playwith the tempo, of qualities. it slow fast,staccato, rhlthm, andofter Try legato, hearylight,andso on. Howdo qualities you thedifferent affect inwardly? Repeat experience, staxt anexpandd the but in way to shape. Howdoes movement "closirg" affect experience? the of the andmove a contracted

over It is important meto reiteBtethattheuseof breath voiceevolved timeat theEnsemble for and actors often are andis a departure ftom Chekhov have we foundthat,withoutan integrated approach, ableto ftrlfill dre character the bodybut not the voice.The resulthasbeer thatvoicand speech in psychological processes hadto "catchup" to reflectthecomplex in have values developed thebody-a from a ftat and Perhaps is helpfulto thinkof thevoiceasemerging it dichotomy is frustrating avoidable. complex arrayof muscles, someof whichare smallandmostof whichare intmalbut no lessabsent from thewholebodythananyofter pan of us.

gesture you, it l[ vourpsychological dosninspire change or getrid of it nntilyoufindsontethin t (l(x's. withits rhlthms, You discover thesame that shapc dra0lalirhtrt l'lxy tempos, qualities. might and |ullr chrLngcspsychological withthesmallest in values adjustment.

FINALTIPS
gesturcto be performedonstage. Lik the technique of Chekhov neverintendedfor psychological (a contemporary Chekhov), psychological gesture intended I "meimsis I[s [. Matthias Alexander of 'Ihis possible is particrlilrlv Inrfln1xnl lo whcreby" enablc [ullest 10 the expression.'3 "means-whcrcby" .lr
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