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Michael Chekhov School News - Fall 2016

* Ted and Fern are writing a Book!
As a testimony of their life-long work with the Michael Chekhov Technique, this fall Fern Sloan and Ted Pugh are writing a book on their own approach to Michael Chekhov's work. The Book Project is an initiative of Danielle Carter, actress, participant at the Michael Chekhov School in 2015 & 2016 and author of the book "Racing Against Time" published by Currency Press, Australia. For the Book Project we can use your help! - If you have any questions about the technique which you would like to see addressed in the book, we invite you to send us your question here


* A new Podcast!
Listen to a conversation between Danielle Carter, Gabriela Bonomo and Ragnar on Michael Chekhov, acting & the love for theater. Recorded following a one week residency of the Michael Chekhov School during MICHA's (Michael Chekhov Association) Summer Conference and Workshop at Connecticut College in New London. If you wish to receive our podcasts in the future, you can subscribe on iTunes.


* The Summer - Part 1
In June 2016 the Michael Chekhov School held a 4-week work session for a group of professional actors who had extensive working knowledge of the Michael Chekhov Technique. The group worked in the morning on training in the technique with Ted and Fern; and in the afternoon they worked with Ragnar on individual projects they had brought to this session. The projects consisted of diverse material ranging from poetry, story-telling and personal material to dramatic characters from Realism to Shakespeare and Greek Tragedy. The participating actors were Gabriela Bonomo, Bethany Caputo, Danielle Carter, Brent Carver, Anne Gottlieb, Deb Keller, John McManus, Craig Mathers, Joanna Merlin, Gabriel RodriguezBernadette Wintsch-HeinenMartin D. Anderson joined the group for the last week, for the school's residency at MICHA, as filmmaker & poet-in-residence: watch an individual session he filmed; and  visit a compilation of his animated  poems, created as reflections of the work.


* The Summer - Part 2
In July 2016 MICHA was invited under the leadership of Hugh O'Gorman to teach as part of the CSU SummerArts Program in Monterey, CA. The faculty included many teachers who have previously participated in the Michael Chekhov School: Jessica Cerullo, Ragnar Freidank, Camille Litalien, Craig Mathers, Séamus Maynard and Joanna Merlin. During 2 weeks the MICHA faculty worked with a diverse and amazing group of young actors. Our work with the Michael Chekhov Technique culminated in a piece based on William Shakespeare's "A Midsummer Night's Dream". It was devised using "Open Space Technology", team-directed and named by Joanna: "OCCUPY THE DREAM". One of the participants, José Hernandez, made a short film about the students' experience during these 2 weeks. You can watch it here.


* Looking ahead: Spaces are Open 
for Michael Chekhov Spring Immersion

With our mission to make an immersive training in the Michael Chekhov Technique available to performers, acting students and theater professionals, we invite everyone interested to apply for our 5-week Immersion. This is an unique training opportunity for everyone looking to learn the Michael Chekhov Technique in depth in an immersive residency setting. Housing is available through the school. For inquiries please contact us. We look forward to hearing from you.

A glimpse into the Book Project
Michael Chekhov School at MICHA, June 2016
Joanna Merlin announces "OCCUPY THE DREAM"
"Art Beat", the end of the show

 
"Ted" by Martin D. Anderson

"In an age such as ours, when the trend of life, thought and desires is to become more and more materialistic and dull, the emphasis unfortunately is on physical conveniences and standardization. In such an age humanity is inclined to forget that to progress culturally, life, and especially the arts must be permeated with all kinds of intangible powers and qualities; that that which is tangible, visible and audible is but a small part of our optimum existence…. Afraid to leave the firm ground under our feet, we forever echo, "Let's be practical!" Afraid to adventure and soar artistically, we sink deeper and faster into the ground we hold to. And then, whether we notice it or not, and perhaps too late, we get tired of being "practical"; we suffer, … search for stimuli… or seek escape in superficial sensation and even drugs… Nobody can exhale without inhaling…  There is not a single exercise in this method which does not serve two purposes at once: to put the actor even more firmly on a practical ground and at the same time give him a sound balance between tangible and intangible, between exhaling and inhaling, and thus rescue him from banalities and from artistic suffocation.” (Michael Chekhov)

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