Welcome to the Michael Chekhov School News
View this email in your browser
Michael Chekhov School News, November 2016
Resources for Actors

Since its founding in 2015, the Michael Chekhov School has been offering a comprehensive immersion course in the Michael Chekhov Technique. The next course is starting in the spring of 2017. In addition the school will continue to offer weekend workshops in the Michael Chekhov Technique and welcomes actors and theater practitioners who want to develop a deeper understanding and working knowledge of this technique.


* Dec 3-4 (upcoming)
Michael Chekhov & Beckett
"Eh, Joe" - Working with a text by Beckett and Psychological Gesture, Image and Atmosphere.
Weekend Workshop, limited to 12 actors.  
Cost: $250. More information & sign up HERE.

* 5-week Immersion (Spring 2017)
Full-time progressive course covering all elements of the Michael Chekhov Technique, so that participating actors can become thoroughly skilled in this work. Now accepting applications.
More information & apply HERE.

* Nov 5-7 (closed)
We offered a workshop for participants of MICHA's past summer workshop to deepen the work, address individual questions and work with an ensemble-based approach to character and play.


In addition to practical work, the Michael Chekhov School wants to make this technique accessible to all interested actors. We invite you to browse the resources below by clicking on the provided links.

* Video Classes produced by MICHA, available for a moderate fee. With Joanna Merlin, Fern Sloan, Ted Pugh, Lenard Petit, Ragnar Freidank
* Podcast. Subscribe on iTunes for past & future episodes featuring Brent Carver, Danielle Carter, Gabriela Bonomo, Fern Sloan, Ted Pugh, Jessica Cerullo & others. Hosted by Ragnar Freidank
* Video Blog. Follow our blog for monthly videos with updates, discussions & reflections
* eBook. Download a free book by Bernadette Wintsch-Heinen about the Michael Chekhov School
* Book Project. Ted & Fern are writing a book. Get involved by submitting questions for the book

Above images from our November Workshop.   (Photos by Ragnar)
Listen to our new Podcast with Ted & Fern
Submit your question for the Book Project
MICHAEL CHEKHOV & BECKETT - Weekend Workshop December 3/4, 2016
For more information about the workshop & to sign up, click HERE

What is the actor’s creation? The actor creates with something that is immaterial. It takes on a temporary form (of gesture, sound, word…), but nothing remains. After the performance is over, it has vanished and lives on only in the memory of the people involved (or not).

To be creative within the theater event the actor needs to go to the same “immaterial and transient” place within himself. This “place” is his own soul, or: his experience of himself and of life around him.

We can observe how we are unable to define or capture our own experience. “It” eludes constantly, shifts constantly. The act of wanting to capture “it” has already changed “it”. “It” is the way my soul, my will, my inner life, moves. “It” is outside of my control, because this “it” is “me”.

What can I do in this attempt to create with this slippery soul of mine, a soul I can never be sure of, because it will never be one thing?

Instead of placing importance onto the ‘result” of being one thing or another, I can notice how my relationship to life is moving from moment to moment. A way to notice this is to move myself. Not to move to create anything in particular, but to move in order to find out: what do I really feel or want, how do I really relate to what is happening. Not how should I react, but how do I react? Maybe I find out that I really push something away I think I ought to embrace.

By allowing myself to move, to express what is there I am noticing the movement of my own soul, a movement that might have been curbed by socialization; I am noticing how I constantly accept, reject, long, suffer, etc…

Experiencing our own ever-changing relationship to the world is to be in contact with our own life of gesture. We are in contact with our own “will”.

Out of this contact with a living force within him the actor can begin to experiment with this world of gesture: If I find that I am withdrawing from someone, say: a teacher, what would happen to me, if outwardly I would start to approach him with open arms.

It is important that I do not lie to myself, in order to attain a certain result. When I move, I will have an experience. This experience is always the truth.

It is important for me to believe more in my experience, then in what anybody (including myself) expects to happen. In this way I allow the gesture, my own gesture, to speak to me and to change me. This change will happen to me. I cannot change. I can only be changed. A gesture that changes me can be called a psychological gesture; it can awaken in me the notion of who I have become, a notion of who that person is: the character.

(Text by Ragnar Freidank)

You can browse past newsletter issues of the Michael Chekhov School HERE.
Copyright © 2016 Michael Chekhov School, All rights reserved.

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list

Email Marketing Powered by Mailchimp