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Relevant bibliographies by topics / Chekhov, Michael

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Academic literature on the topic 'Chekhov, Michael'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "Chekhov, Michael"

1

Kirillov, Andrei. "Michael Chekhov and the Search for the ‘Ideal’ Theatre." New Theatre Quarterly 22, no. 3 (July 11, 2006): 227–34. http://dx.doi.org/10.1017/s0266464x06000431.

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In a keynote address delivered at the Michael Chekhov symposium ‘Theatre of the Future?’, held at Dartington Hall in November 2005, Andrei Kirillov argued that Chekhov’s ideas have not yet been fully assimilated, pointing out that merely to follow his exercises without understanding their connection to the actor’s imagination and meditative as well as spiritual dimensions is to fail fully to understand him. Andrei Kirillov is a researcher and Assistant Chair at the Theatre Department of the Russian Institute of the History of the Arts. His numerous publications on the history and theory of Russian theatre include Michael Chekhov: the Path of the Actor, co-edited with Bella Merlin (2005), and Teatr Mikhaila Chekhova: Russkoye Akterskoye Iskusstvo XX veca (The Theatre of Michael Chekhov: the Art of Russian Acting in the Twentieth Century, 1993). Bella Merlin originally enhanced the English-language version of this lecture, and with the author’s approval it has been further edited by NTQ for publication.

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Gottlieb, Vera. "Why This Farce?" New Theatre Quarterly 7, no. 27 (August 1991): 217–28. http://dx.doi.org/10.1017/s0266464x00005728.

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In exploring the repertoire of farce from its nineteenth-century exponents in France and England through the ‘typically British’ pre- and post-war varieties at the Aldwych and the Whitehall, to the work of such contemporary exponents as Alan Ayckboum and Michael Frayn, Vera Gottlieb also analyzes the ways in which ‘mechanistic’ or ‘clockwork’ kinds of farce are philosophically akin to absurdist drama. She suggests that English approaches to Chekhov have overlaid his work with similar assumptions – as in the contention of Michael Frayn, himself both a Chekhov translator and a highly successful farceur, that Chekhov's characters are ‘reduced by their passions to the level of blind and inflexible machines’. In arguing that this is not the case, she elaborates a crucial distinction between farces which, in effect, assume the impotence of human aspirations, and those in which behaviour derives from character rather than from imposed situations, thus offering at least the potential for change. Vera Gottlieb is Professor of Drama at Goldsmiths’ College, University of London, and the author of Chekhov and the Vaudeville (Cambridge, 1982) and Chekhov in Performance in Russia and Soviet Russia (Chadwyck-Healey, 1984). She was also translator and director of A Chekhov Quartet, first seen at the New End Theatre, London, in 1990, and subsequently at the Chekhov Festival in Yalta and the GITIS Theatre in Moscow.

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Byckling, Liisa, and Лийса Бюклинг. "Stanislavsky and Michael Chekhov." Stanislavski Studies 1, no. 2 (May 2013): 48–115. http://dx.doi.org/10.1080/20567790.2013.11428587.

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Daboo, Jerri. "Konstantin Stanislavsky Michael Chekhov Vsevolod Meyerhold Jacques Lecoq." Theatre Survey 47, no. 1 (April 13, 2006): 146–50. http://dx.doi.org/10.1017/s004055740638009x.

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The Routledge Performance Practitioners series, edited by Franc Chamberlain, is a new set of introductory guides to a range of key figures in the development of twentieth-century performance practice. Each book focuses on a single practitioner, examining his or her life, historical context, key writings, and productions, and a selection of practical exercises. These concise volumes are intended to offer students an initial introduction to the practitioner and to “provide an inspiring spring-board for future study, unpacking and explaining what can initially seem daunting” (Merlin, ii). The list of practitioners in the complete series include Stanislavsky, Brecht, Boal, Lecoq, Grotowski, Anna Halprin, and Ariane Mnouchkine, thus examining a range of performance styles and practices, creating a valuable overview of the development of performer training through the twentieth and into the twenty-first centuries. Such interest in the history of specific approaches to training performers has been addressed in other volumes, such as Twentieth-Century Actor Training, edited by Alison Hodge (New York: Routledge, 2000), and Acting (Re)considered: A Theoretical and Practical Guide, edited by Phillip Zarrilli (London: Routledge 2002). Both those collections contain in-depth chapters focusing on aspects of the selected practitioners' theoretical and practical approaches to the principles and concerns in their work. Where the books in the Routledge Performance Practitioners series differ is that they offer a more general overview of the practitioner in one volume, and in addition to the historical context, they provide a set of practical exercises that can be carried out by the student or teacher, as well as by the actor or director. The books are well presented, divided into clear sections, with relevant photographs and diagrams. There are also sidebars providing definitions and further information on key figures and terms mentioned in the main text. This review covers the first four books in the series, examining the work of Konstantin Stanislavsky, Michael Chekhov, Vsevolod Meyerhold, and Jacques Lecoq.

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Cerpa, Maritza Farías. "Sentido de composição na atuação em Michael Chekhov." Revista aSPAs 2, no. 1 (October 7, 2012): 112. http://dx.doi.org/10.11606/issn.2238-3999.v2i1p112-120.

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6

Marsden, Robert. "Directing with the Michael Chekhov Technique by Mark Monday." Stanislavski Studies 7, no. 1 (January 2, 2019): 136–38. http://dx.doi.org/10.1080/20567790.2019.1575392.

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7

Fei, Faye Chunfang. "Huang Zuolin: Michael Chekhov’s Link to China’s Modern Theatre." New Theatre Quarterly 22, no. 3 (July 11, 2006): 235–48. http://dx.doi.org/10.1017/s0266464x06000443.

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The folllowing article is a revised and edited version of a keynote address given by Faye Chunfang Fei at the Michael Chekhov Symposium, ‘Theatre of the Future?’, in November 2005 – held at Dartington Hall, where the actor and director Huang Zuolin worked under Chekhov’s guidance in 1936, an experience which helped to shape his lifelong work in uniting the best in western theatrical traditions with those of his native China. Faye Chunfang Fei traces this formative influence, along with those of Stanislavsky, of Brechtian Epic Theatre, and of traditional and modern Chinese forms, in shaping some of the major productions of probably the most influential figure in the Chinese theatre of the later twentieth century. Faye Chunfang Fei received her doctorate in Theatre Studies from the Graduate Center of City University of New York in 1991, and taught theatre in the United States for nine years before taking her present position of Professor of English and Drama at East China Normal University, Shanghai. Her publications include Chinese Theories of Theatre and Performance from Confucius to the Present (University of Michigan Press, 1999), and she is also an internationally produced playwright.

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Marc E. Shaw. "Master Classes in the Michael Chekhov Technique (review)." Theatre Topics 19, no. 1 (2009): 113–14. http://dx.doi.org/10.1353/tt.0.0062.

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Daboo, Jerri. "Michael Chekhov and the embodied imagination: Higher self and non-self." Studies in Theatre and Performance 27, no. 3 (September 27, 2007): 261–73. http://dx.doi.org/10.1386/stap.27.3.261_1.

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Bennett, Leslie. "Inspired states: adapting the Michael Chekhov Technique for the singing actor." Theatre, Dance and Performance Training 4, no. 2 (July 2013): 146–61. http://dx.doi.org/10.1080/19443927.2013.794157.

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Dissertations / Theses on the topic "Chekhov, Michael"

1

Solomon, Richard. "Michael Chekhov and His Approach to Acting in Contemporary Performance Training." Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/SolomonR2002.pdf.

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Cornford, Thomas. "The English theatre studios of Michael Chekhov and Michel Saint-Denis, 1935-1965." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/57044/.

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This thesis charts the brief history of the theatre studios run in England between 1935 and 1965 by Michel Saint-Denis (1897-1971) and Michael Chekhov (1891- 1955). They were the London Theatre Studio (1936-1939), run by Saint-Denis; The Chekhov Theatre Studio at Dartington Hall (1936-1938); The Old Vic Theatre School (1947-1952), initially part of the proposed Old Vic Theatre Centre, whose directors were Michel Saint-Denis, George Devine and Glen Byam Shaw; and the RSC Studio (1962- 1965), run by Saint-Denis. All of these studios were dedicated to combining training and experimentation in the development of ensemble companies and were therefore liminal spaces combining elements of a theatre and a theatre school. An introductory section briefly situates the practice of theatre studios in the context of wider narratives of work, craftsmanship and artistry in the period and traces their development from the Moscow Art Theatre Studio of 1905, as well as sketching some significant parallels between Saint-Denis and Chekhov. The first two sections of the thesis then explore the period from 1936 until 1952, looking first at Chekhov’s and then at Saint-Denis’ studios, placing them in the context of the traditions of training and exploration from which they emerged, and examining their practice and their legacies. The final section of the thesis explores the direct impact of their practice on the Post War British Theatre, focusing particularly on the Royal Shakespeare Company whose Studio was run by Saint-Denis, and where Paul Rogers (one of Chekhov’s students) was a leading actor. A short concluding section applies the principles of Chekhov’s and Saint- Denis’ work to the practice of training and experimentation in 2012 and looks to the future, to ask whether the studios whose work is explored in the main body of the thesis have a role to play in the future development of the art of the theatre.

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Bruneau, François. "Le masque de peau ; : suivi Du théâtral au littéraire : usages de techniques et procédés théâtraux dans la production d'une oeuvre littéraire /." Thèse, Trois-Rivières : Université du Québec à Trois-Rivières, 2003. http://www.uqtr.ca/biblio/notice/tablemat/17706650TM.html.

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Chenard, Josh. "The Michael Chekhov Technique: In The Classroom and On Stage." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/71.

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Referred to by Constantin Stanislavski as “My most brilliant pupil,” Michael Chekhov’s approach to acting is founded in an understanding of the artist as a whole being whose thoughts, feelings, desires, voice, and physical body are intimately interwoven. The Michael Chekhov technique trains these aspects jointly while encouraging the actor to fully explore and utilize his or her unlimited, rich, and fertile imagination. I have seen the powerful benefits of this technique as an actor (which I have been utilizing for 13 years) and as a teacher and director (for almost 10 years). In my thesis, I will firstly describe the technique, its principles, tools, and philosophies. I will then delve into the application of the technique in the classroom (utilizing information gathered during my Introduction to the Techniques of Michael Chekhov course taught at Virginia Commonwealth University, Spring 2009, Fall 2009, and Spring 2010), and on the stage (utilizing information gathered during the two VCU Shafer Alliance Laboratory Theatre productions I directed of And Sometimes We Just Listen to Each Other Breathe in Spring 2009, and La Bête in Fall of 2009).

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Rust, Colin Michael. "Bodily Awareness: The Theatre Writings of Michael Chekhov and Tadashi Suzuki." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1185907675.

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6

Townsend, Elizabeth A. "THE MIND AND BODY CONNECTION: ALBA EMOTING AND MICHAEL CHEKHOV’S TECHNIQUE." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1239659033.

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Reiss, Richard Arnold. "Three Roles." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1237405268.

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8

Pitches, Jonathan. "The psycho-physical actor : science and the Stanislavski tradition." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368355.

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Stover, James P. "An Exploration on the Michael Chekhov Technique in Rehearsal, Performance and the Classroom." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3743.

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The Michael Chekhov Technique is a unique approach to acting that has been successfully used by professional actors for many years. This thesis explores finding a strong understanding of the technique as well as discovering ways to incorporate it into an undergraduate actor training program. The examination aims to further my aesthetic both as theatre teacher and practitioner. It includes training with master teachers in the technique, incorporating Chekhov exercises into undergraduate acting and movement classes and use of the technique on a production of Pride & Prejudice.

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Black, Alexis. "Meiskov: Combining the Techniques of Sanford Meisner and Michael Chekhov, Onstage and Off." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4795.

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When it comes to actor training in higher education, there are many practitioners from which to choose. This thesis describes the teachings of Sanford Meisner and Michael Chekhov and the benefits of combining their techniques. This thesis further explores five elements deemed necessary to every actor’s training. These elements are approached through the techniques of Meisner, Chekhov and a combination of their teachings. These five elements are explored through a workshop and performance. During the workshop, I devised and taught new hybrid exercises to approach these elements through a combination of the teachings of Chekhov and Meisner. Responses from workshop participants are included. Finally, the combination of techniques is discussed through the performance of two roles in a Virginia Commonwealth University theatre production. This thesis hopes to serve as a guide to instructors and participants looking to explore the benefits of combining the methodologies of Sanford Meisner and Michael Chekhov.

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Books on the topic "Chekhov, Michael"

1

Michael Chekhov. London: Routledge, 2003.

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2

Chamberlain, Franc. Michael Chekhov. London: Routledge, 2004.

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Chamberlain, Franc. Michael Chekhov. London: Taylor & Francis Inc, 2003.

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Chamberlain, Franc. Michael Chekhov. London: Taylor & Francis Group Plc, 2004.

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5

Chamberlain, Franc. Michael Chekhov. 2. | Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485800.

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6

Petit, Lenard. The Michael Chekhov Handbook. Second edition. | Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429054716.

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7

A, Smeli͡a︡nskai͡a︡ S., Rossiĭskai͡a︡ gosudarstvennai͡a︡ biblioteka po iskusstvu., and Fond Mikhaila Chekhova, eds. Mikhail Chekhov: Annotirovannyĭ bibliograficheskiĭ ukazatelʹ = Michael Chekov : a bibliography. Moskva: KhPI "Aslan", 1994.

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8

Deshpande Hutchinson, Anjalee, and Kimon Fioretos. Michael Chekhov and Sanford Meisner. Edited by Anjalee Deshpande Hutchinson. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003025825.

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9

The Michael Chekhov handbook: For the actor. New York, NY: Routledge, 2009.

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Centre, Dartington Records. Dartington theatre archives: Michael Chekhov : an introductory listing. Dartington: Dartington College of Arts, 1985.

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Book chapters on the topic "Chekhov, Michael"

1

Petit, Lenard. "Introduction." In The Michael Chekhov Handbook, 1–7. Second edition. | Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429054716-1.

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Petit, Lenard. "The Aims of the Technique." In The Michael Chekhov Handbook, 8–12. Second edition. | Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429054716-2.

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Petit, Lenard. "The Five Guiding Principles." In The Michael Chekhov Handbook, 13–16. Second edition. | Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429054716-3.

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Petit, Lenard. "The Dynamic Principles." In The Michael Chekhov Handbook, 17–28. Second edition. | Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429054716-4.

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Petit, Lenard. "The Tools." In The Michael Chekhov Handbook, 29–85. Second edition. | Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429054716-5.

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Petit, Lenard. "Application." In The Michael Chekhov Handbook, 86–189. Second edition. | Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429054716-6.

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Petit, Lenard. "Mastery of the Technique." In The Michael Chekhov Handbook, 190–94. Second edition. | Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429054716-7.

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8

Maus, Robb. "Studio Work with Meisner and Chekhov." In Michael Chekhov and Sanford Meisner, 116–26. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003025825-11.

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Arnold, Dawn. "Michael Chekhov’s Inspiration for Actors." In Michael Chekhov and Sanford Meisner, 25–34. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003025825-3.

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Coromel, Susan. "The Meisner Approach." In Michael Chekhov and Sanford Meisner, 11–16. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003025825-1.

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