Actors Workout Guide

8/10/2019 Actors Workout Guide

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Actors Workout Guide

Using Michael Chekhov Techniques

By Lisa Dalton

No Certified Chekhov Teacher to lead you? Create your own Chekhov workout ensemble. The following is a set ofguidelines and suggested syllabus for a complete workshop in Michael Chekhov Techniques. Get a copy of the isa!alton"s #ock $ #oll %orkout !&! from the NMC' (tore )chekhov.net*products.html+ and use this to remindyourself of the use of the basic Michael Chekhov tools. ,ou can even use this !&! as the leader of your e-ercises.

Basic Guidelines

'. /b0ectives1. 2ncrease * strengthen the psycho3physical )mind3body+ connection.4. !eepen understanding of technique and self by strengthening the higher ego.5. !evelop a true sense of ensemble with 6ase7 form7 beauty7 and wholeness.8. 9repare ourselves to share our ideals7 our gifts7 with the world.

:. The ;orm )e.g. :all Toss7 (tacato * egato+1. The :eginning )9reparation+

/b0ectivea. To bring the ensemble to one focus7 clear the outside world.b. To e-ercised concentration7 activate radiation and receiving.

c. To warm up the physical form while utilimiddle leading to the>end of the workout.

4. The Middle )'ction+ )9ick a tool= use the !&!+/b0ective

a. To e-plore deeply a particular aspect of the technique1+ The individual works to grasp the concept4+ Then to e-ecute the >tool in its fullest physical e-pression7 to e-perience theconcept in all three realms of mind thinking*feeling*willing.5+ Then to veil the physical e-pression while strengthening the harmony formed bythe image and the body.8+ To bring this level of skill to interaction with partners7 to develop >partneringskills.

b. To apply the above to )@ost"s Choice or 6nsemble"s Theme+1+ 2mprovisation4+ Monologues5+ Cold #eadings8+ (cenes

5. The 6nd )(ustain+/b0ective

a. To ;ly Backover the work1+ %hat did 2 like overall?4+ %hat would 2 do differently?

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5+ %hat what was my favorite moment?8+ %hat questions remain?A+ @ow can 2 continue to deepen what 2"ve learned?

b. To frame the workout by providing closure1+ 6-press appreciation for the work you have shared.4+ 6stablish intent for the future highest good.

c. To set future goals * time * place for upcoming events.

C. The #ules /f 9lay ) The ;orm+1. 'll activities must embody the 8 brothers of 'rt

a. 6ase7b. ;orm7c. :eauty7 andd. %holeness.

4. 6stablish a Team Captain)s+7 designate duration of reign.a. Captain for a day7 month7 part of day7 or aspect of each workout. >The warm up7 the spy

back.b. Captain guides the ensemble through the e-ercises7 with ease and form7 taking care forsafety and wholeness. Clarifies what actors are working for )the task or the grounds+c. Captain guides any spy back. ;ellow classmates my spy back only after actor hascompleted his*her own spy back and only if that actor requests spy backs from others7 (pyback must only address the task prior to e-ercise.d. 'ny comments from one actor to another about that actorBs work should be given

1+ /nly on requests4+ /nly during designated >spy back time5+ /nly in the form of What I Liked most about your work wasandI would

suggest next time that you try...8+ 'll comments must spring from a wish for that actorBs highest good.A+ #efrain from side discussions occurring outside of the established form

+ 'void disagreeing with another observation. (imply state your suggestion. 2twill be obvious that it is unique from anotherBs and the individual has the task ofdiscerning how to integrate the observations.D+ Captain must limit discussioEn if debate occurs.F+ /ne conversation at a time with no cross talk. This violates the form ofwholeness and divides the ensemble.+ Make sure the task for the e-ercise. (ay7 >%hat were you working for? areclear before the spy back begins. 'ctorBs spy back is about how well they e-ecutedtheyBre established task.

5. 2ntegrate the feeling of beauty into ever moment.a. Not matter how differently an e-ercise is being led7 avoid critici


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e. Cultivate @igher 6go activities such as1+ %elcoming new comers7 encouraging7 assuring and supporting them7 enable them to

make friends with the group7 the space7 the purpose7 and the guidelines.

4+ (haring insights which you discover because of anotherBs interpretation appreciateand e-press it.

5+ 2nclude any special needs for health and safety.8+ Create networking support.A+ Gather to read plays together.+ #ehearse scenes.D+ !evelop a script.F+ 9ut on a showH+ @ave ;un I humor )not at another"s e-pense+ is part of the higher ego J if it isn"t fun

it isn"t ChekhovH1E+ :e prompt7 ready to work7 dressed appropriately7 bring beverages and shacks7 respect

property I recycle.11+ !onate K1 towards utilities. Give to the host.

f. (afety I physical and emotional I is a priority. 6ach person must assume liability forthemselves. ,ou must asume legal liability and responsibility for your health and safety.




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Actors Workout Commitment

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'ctor Name (ignature !ate

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Workout Tools Glossary

Ball Toss%ith own name7 with receivers name and other variations7 moving in circle* reverse7 throw and go7 repeat the patternwith multiple balls7 word association.

Ex/Con

;ind neutral 2'C7 fill the form with light and e-pand out7 move into large abstract movement7 add dialogue7 begincontraction into the smallest amount of possible space7 stand with contraction7 try abstract movement with dialogue7gradually veil the outer physical e-pression while heightening inner e-*con7 practice different speeds of e-*con.

Archetypal Gestures

9ush7 pull7 lift7 smash7 tear7 throw7 gather7 drag7 penetrate7 do largest physical movement with clear :eginning7middle and end with 9'((7 do half gesture with full inner7 do mini7 do fully veiled7 add dialogue7 work with partner.

Staccato / LegatoCenter energy7 radiate with quick staccato thrust to right7 left7 up7 down7 back7 and forward7 three times withincreasing precision and tempo. Then move immediately through the space with this quality 3 improvise dialogue.

Legato3 slowly7 smoothly repeat same sequence as above7 alternate qualities while improvising. 9artner andconcentrate on verbal application of staccato * legato. Take a nursery rhyme or monologue and recite it very slowand legato7 connected.

#epeat very slow and staccato7 choppy.#epeat very fast and legato7 connected.#epeat very fast and staccato7 choppy.

Qualities o !o"ement

Molding )sculpting+ I 6arth * Clay

;lowing );loating+ I %ater * %ave;lying I 'ir * %ind#adiating I (un * light * laser

9artner with qualities of movement7 select quality for improvisation or use with monologue * nursery rhymee-ercise.

#our Brothers o Art

!ivide into small groups or individually with one chair per group. %ithin the group7 one person at a time forappro-imately one minute e-plores the chair with a ;eeling of 6ase. eep the face neutral. :reathe. se the entirebody. :eing original is of no interest to us.

Continue with the same process for ;eelings of ;orm and :eauty. #emember that in the feeling of form7 the groupscan reflect and interact by changing the form surrounding the actor working with the chair.

Take little pauses in feeling of form to e-perience the actual feeling of each form you create. eep your quality ofease.

;or feeling of the whole7 each actor makes one short sequence of movements concentrating on 0ust being clear onwhere they begin7 what is the middle7 and where is the end. 'fter the actor has completed their work7 the groupidentifies what the beginning and ending where. Then the actor states where they were. 2f all are in agreement7 thetask has been accomplished. 2f not7 it is most likely the actorBs thoughts were unclear7 uncommitted7 or not reflecteddistinctly in the form. !istinct tempo and rhythm changes will most clearly mark the sequence.




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$AC%$mpulse

6nvision the presence of energy in this special place which is filled with a golden white light. 2magine an impulse

shoots from this center to a part of the body and compels in to move. #elease the movement when the impulse fades.6-plore this for a few minutes. Now7 when the impulse moves a part of the body7 hold the body where it fades7 thenallow a new impulse to carry it to another place7 creating a second movement following the first. 6ventually addmore impulses until the body actually walks with all impulses coming from this ideal center. 2magine there are no0oints or bones in the body7 rather that you have only one connecting point7 much like a scissors. ,ou are a body oflight7 like in >Cocoon.

!o"a&le Centers

Try various centers7 change the qualities7 colors7 etc.7 improvise7 then go to scenes or monologues.

'ip 'ap 'op

/b0ective eep all together/b0ective To win

Atmospheres

2magine various atmospheres as humans walking through them7 select a brief mundane activity like tying your shoeor washing a dish. #epeat it7 trying to keep your movements in harmony with the atmosphere. 'fter each activity7spy back inwardly to determine how well your movements harmoni


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9air up with a partner and improvise a dinner conversation while eating as a thinking7 then feeling7 then willingcharacter.

Create three different qualities of thought and e-ercise them with an activity and dialogue. )Thick7lightning7 deliberate+Create three different qualities of feeling and e-ercise them with an activity and dialogue. )6-pressive7repressed7 mercurial+Create three different qualities of willing and e-ercise them with an activity and dialogue. )Tortoise7 hare7paraly

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Actors Workout Guide