Presented by: Janice Orlandi
An advanced two-part movement for actors course. You are invited to sign up for either five-week part or for the full ten weeks: $180 each or both for $345.
Chekhov on Chekhov: Anton & his Nephew Michael
Application of Michael Chekhov Technique to THE THREE SISTERS, UNCLE VANYA and THE SEAGULL
In this class, we explore the characters and texts of Anton Chekhov’s greatest works through the lens of Michael Chekhov’s “psycho-physical” approach to acting. We practice the core principles and exercises outlined in his book, TO THE ACTOR, including ensemble-based psychophysical exercises, character exploration and ensemble improvisation. Each class begins with a warm-up specifically designed to develop the organic connection between your inner life, creative imagination and expressive body. Through rigorous practice you explore: Radiating and Receiving, Archetypes, Imaginary Centers, Imaginary Body, Character Atmospheres, Character Portrait, Overall Scenic Atmospheres, Qualities of Movement, Expansion & Contraction, Imaginary Palace, and Character Archetypal Gestures. We explore scoring the Overall and Scenic Atmospheres of the play, Character Atmospheres and Archetypes leading to the Character’s Psychological Gestures.
Using the texts and characters of of Anton Chekhov’s plays THE THREE SISTERS, UNCLE VANYA and THE SEAGULL, we explore how to score and apply Michael Chekhov’s tools to text and ensemble rehearsal. Including: Chekhov approach to Style and Manners through Character Imaginary Body and Status within the “World of the Plays” set in Russia, turn of the century 1860’s to 1890’s
Michael Chekhov technique consists of a wide variety of effective acting tools, which can inspire endless exploration and possibilities for ensemble building and enlarging the actor’s physical ease, creative imagination, transformation and artistic expression. The actor can then bring this sensibility to the creation of a character, exploration of the text, the acting ensemble in rehearsal, and inspired performance.
“The essence of our profession … is to give. What is it that we in the theater give? … We give our body, voice, feelings, will, imagination – we give a form of pulsating art to life itself; we give it to our characters and we give it to our audiences. Nothing, absolutely nothing remains for us save the pleasure of having given pleasure. And yet it is only by this miraculous process that our love grows and our talent is fulfilled and replenished.” –– Michael Chekhov
What is the “Dusa Blush?” A Psychophysical Response to Imaginary Circumstances
The physical exploration and study of the science of Emotion in Drama
Psychophysical Methods in the exploration of the dramatic, the imagination, movement, breath, Archetypal Emotion and Gesture. Cross Pedagogy: Michael Chekhov and Rasa Boxes.
From Roman Gestures to Delsarte and Indian Drama to Chekhov, we explore qualities of emotion and Sensations in creating a character’s Physiological Gestures.
Topics explored include Michael Chekhov Atmospheres and Gestures, Moving from the Sensation of Emotion, Imaging the Five Senses to discover the Quality of Movement, the 8 Circles of Emotion, inner and outer images, 8 Rasa Emotions in Indian Drama, Rasa Grid and Rasa Circles of Emotion, the emotional mask, posture and breathing and cross-cultural Masks of Paul Eckman, Six Primal and animal Emotions, Archetypal Mask and Posture in Indian Drama, Alba Mask Posture and Breathing Methods, Archetypal statues and Atmospheres of emotion.