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Relevant bibliographies by topics / Chekhov, Michael

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Dissertations / Theses

Academic literature on the topic 'Chekhov, Michael'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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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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2

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

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3

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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4

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

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5

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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7

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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9

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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10

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 co

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