Relevant bibliographies by topics / Chekhov, Michael / Dissertations / Theses
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Dissertations / Theses on the topic 'Chekhov, Michael'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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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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11

Bond, Alisha J. "Creating Kate from an Inspired State: Application of the Michael Chekhov Technique in Musical Theatre." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1501293965312088.

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12

Wion, Brenda. "Transforming Actor Training: Michael Chekhov's Psycho-Physical Technique." University of Akron / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=akron1208278580.

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13

Cook, Laura E. "A “Spyback” on Three Years of Graduate Training." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1240242619.

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14

Cerpa, Maritza Alejandra Farías. "A individualidade criativa do ator no trágico cotidiano." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-31012014-160723/.

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A presente pesquisa visa disponibilizar a organização de um processo criativo teóricoprático situado na interação da experimentação dos princípios atorais desenvolvidos pelo ator russo Michael Chekhov e na apropriação das teorias e estética simbolistas propostas por Maurice Maeterlinck, adotando como base principal o conceito de \"trágico cotidiano\". Propõe-se uma análise-associação, enquanto proposição criativa, para a elaboração de cena teatral configurada a partir da individualidade criativa do ator e da procura de uma teoria como provocação dramatúrgica por meio de um processo com fins ar
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15

Fleming, Cassandra. "A genealogy of the embodied theatre practices of Suzanne Bing and Michael Chekhov : the use of play in actor training." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/9608.

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This project investigates the previously unrecognised significance of the ways in which the Embodied Theatre practices of Suzanne Bing (1885-1967) and Michael Chekhov (1891-1955) utilised forms of what I term Embodied Play as a constituent part of their actor training processes. A methodology is developed in the introduction which draws on Foucault's notion of genealogy and Feminist approaches to historiography in order to trace and review accounts of these often marginalised play practices in order to re-configure the contributions of Bing and Chekhov in historical terms. It also challenges n
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16

Russell, Robert W. "An Actor's Process." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1240239777.

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17

Varotto, Daniela. "Fisicidade e imaginação : a construção do corpo-mente organico do ator." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284677.

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Orientador: Inaicyra Falcão dos Santos<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-05T01:38:42Z (GMT). No. of bitstreams: 1 Varotto_Daniela_M.pdf: 2236720 bytes, checksum: 633e4a5ab3c584e3c5c8caa631b14fd0 (MD5) Previous issue date: 2005<br>Resumo: Considerando o trabalho do ator como um caminho individual a ser percorrido, o que se propõe neste estudo é a investigação de como construir o corpo-mente orgânico. A partir da relação investigada entre as Danças Tradicionais Gaúchas e o trabalho proposto por Mikhail Tchec
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18

Mauch, Michel. "Poética e pedagogia: Maria O. Knebel e o monólogo interior." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-18052015-164353/.

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Esta pesquisa tem como objetivo apresentar o desenvolvimento do trabalho artísticopedagógico- teatral de Maria Osipovna Knebel (1898 - 1985). Focamo-nos na criação e no desdobramento de sua filosofia pedagógica, bem como analisamos e discutimos o monólogo interior. No Primeiro Capítulo, enfatizamos a relação de Knebel com Mikhail Tchekhov (1891 - 1965) e os caminhos que levaram-na a seguir a carreira teatral. Dentro desse contexto, fazemos uma breve análise sobre o trabalho improvisacional tchekhoviano e sua influência sobre a formação da diretorapedagoga. Em um salto, vamos da primeira classe
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19

Townsend, Elizabeth Ann. "The mind and body connection Alba emoting and Michael Chekhov's technique /." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1239659033.

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Thesis (M.F.A.)--Kent State University, 2009.<br>Title from PDF t.p. (viewed Feb. 17, 2010). Advisor: Mark Monday. Keywords: Alba Emoting; Michael Chekhov. Includes bibliographical references (p. 36).
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20

Mastrokalou, Effrosyni Efrosini. "Exploring 'optimal' states of consciousness in Michael Chekhov's psychological gesture : towards a new phenomenological paradigm." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/29894.

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This thesis examines key concepts from philosophers Nishida Kitaro, Maurice Merleau-Ponty and Fredriche Nietzsche and applies them to elements of Michael Chekhov’s practice of acting. The three philosophers, in different ways, suggest an ‘optimal’ state, beyond a dualistic separation of the fictive from the real and the visible from the invisible, that challenges seemingly unbridgeable dualisms between inner and outer, subject and object, being and becoming and experiencer and experienced. The purpose of this thesis is to analyze and understand these selected ‘optimal’ modes of consciousness i
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21

Garre, Rubio Soledad Pilar. "Shifting paradigms of practice in 'Interpretación Gestual' : integrating bodymind training with Michael Chekhov's acting techniques within the context of training professional actors in Spain." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8281.

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This thesis examines the implementation of an actor-training programme in the context of Spanish drama schools during 2004-2005. Reflecting through the student's practice as well as my own practice as a teacher, actor and director, I investigate how a bodymind training based on martial arts disciplines and designed by Phillip Zarrilli may contribute to understand the theory and the practice of an actor's use of the imagination as Michael Chekhov proposes it. Core questions arise from the evaluation of what is the professional knowledge that the integration of both systems of training brings to
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22

McKinnon, James Stuart. "The Dramaturgy of Appropriation: How Canadian Playwrights Use and Abuse Shakespeare and Chekhov." Thesis, 2012. http://hdl.handle.net/1807/33818.

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Both theatre and drama were imported to Canada from European colonizing nations, and as such the canonical master-texts of European drama, particularly the works of Shakespeare, have always occupied a prominent place in Canadian theatre. This presents a challenge for living Canadian playwrights, whose most revered role model is also their most dangerous competition, and whose desire to represent the spectrum of contemporary Canadian experience on stage is often at odds with the preferences of many producers and spectators for the “classics.” Since the 1990s, a number of Canadian playwrights h
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23

Ashperger, Cynthia. "Michael Chekhov's acting technique in contemporary pedagogy and practice." 2007. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=968367&T=F.

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