Michael Chekhov Workshop

Workshop 

Michael Chekhov

Introduction:

Body and Space: Michael Chekhov’s notion of atmosphere as the means of creating space in theatre 

Information to say while everyone is in semi supine or before the exercise starts: 

Atmosphere is a multi- layered text based on the anthropological ( the science of humans), architectural and emotional types of human relationships. It is both the Actor/ Character/ Spectator communication and the, employment of theatre space as sign. Therefore, atmosphere is a dynamic process defining the aesthetic reading of a performance.

A part of Chekhov’s acting technique, is an organising force of theatre space in action. It is created by every individual performer and simultaneously by a group of actors in the circumstances of a particular production. It is a visual and sensory text connecting: actors on stage with each other and people on stage and people in the audience.

Chekhov sees atmosphere in the hands of the actors, in the way their bodies interconnect within the circumstances of a given space rhythm of the action, and the objectives of each particular character using external layers er. music lights to add or create atmosphere.

Exercise 1

• Start with semi supine- get the class to lye in semi supine, this will get them in a focused and personal space 

Explain the introduction and what we aim to get from doing the workshop on Michael Chekhov- To develop an atmosphere within a space, one that we can translate into The Devils

• In Chekhov’s vocabulary the term atmosphere signifies the dominant tone or mood of, amongst other things, a place, a relationship or an art work. It is a sort of tension, which is spread in the air, enveloping people and events and pervading the life of which it is a part.

• Tell them to think of the angriest moment in their life 

• Choose a physical gesture to suppress or express your anger e.g. clenching teeth, squeezing fist, grabbing hair, kicking, biting nails etc. - Hold on to it

• Give them a Scenario: Night time streets of Loudun, you are now your character, the feeling of hate is spreading all over France and is uprising in every single character 

• The only way of expression is with your gesture and eyes- by only using one gesture in this scenario it is like a suppression of sin, you have to still keep order when there is so much disorder inside of you 

• first of you are the only person in the street
• then push the gesture x5
• then all the other characters are introduced and you can start to see the other people walking round 
• push the gesture x10
• now with everything you’ve just felt keep that gesture minimal but still with the same feeling as x10

• Shake it out 

• discuss

Exercise 2

•  Get every one to lie in Semi Supine 

Michael Chekhov believed that ‘ the atmosphere is the soul of the performance’ which the actor can create around him/ her without and given circumstances, by moving and speaking in harmony with it

• Think of your characters suspicions e.g. Adam and Mannoury’s feelings towards Grandier

• Choose a physical gesture to suppress or express your suspicion e.g.. Sharp head movements, scratching of the head, fiddling with the hands etc. - Hold onto it 

• Scenario: St. Peters Church, where Grandier is priest, you can be praying, you can be standing by the door, anything your character would be doing in the church

• Stand up now and start walking to or into the church, your only way of expression is with your gesture and eyes, remember you are completely your character right now, do not think or act as yourself

 Atmosphere still requires the qualities of a sign on stage. It functions as a device of bringing stage and audience together via the actors rhythmical characterisation of his or her stage mask.

• Push the gesture x5
• push the gesture x10

• shake it out- discuss 

Something to take away with you and perhaps looks at:

Chekhov encouraged actors to practice creating atmospheres in their imagination by reading through scenes from plays, getting a sense of the overall atmosphere and then imagining the characters acting and speaking in tune with it. Rather than doing this just once, Chekhov proposes that the exercise is repeated until the inner performance is satisfactory, and then suggests that the atmosphere is altered. 

Note: In your spare time if you have a chance, look at some plays or scenes and imagine the atmosphere on stag or in that moment, it will help to expand your imagination and sense of atmosphere that will ultimately help you with your approach to the atmosphere in the devils and in your scenes.