272 pages | 12 B/W Illus.
Michael Chekhov and Sanford Meisner: Collisions and Convergence in Actor Training offers a comprehensive analysis of the Sanford Meisner Acting Technique in comparison to the Michael Chekhov Acting Technique.
This compilation reveals the connections as well as the contradictions between these two very different approaches, while highlighting meaningful bridges and offering in-depth essays from a variety of sources including master teachers with years of experience to new and rising stars in the field. Authors provide philosophical arguments on actor training, innovative approaches to methodology, explorations into integration as well as practical methods of application for the classroom, rehearsal room, or scaffolded into a curriculum.
Michael Chekhov and Sanford Meisner: Collisions and Convergence in Actor Training is an excellent resource for professors teaching Introductory, Intermediate or Advanced Acting Technique as well as Acting Program Directors and Department Chairs seeking new impactful research on Actor Training.
Part 1: The Masters
1.1. The Meisner Approach: "Be simple and rediscover the world"— Dostoyevsky
1.2. The Relevance of The Meisner Technique in Today’s Actor Training
1.3. Michael Chekhov’s Inspiration for Actors
Part 2: Expeditions in Deep Training
2.1. Meisner in the Undergraduate Setting
2.2. Teaching the Michael Chekhov Technique in an Undergraduate Program; the Problem and the Arrival
2.3. Reality VS Pretend: How to Surmount Collisions In Search of Truth
2.4. We Are Not Historians
Part 3: Methods in Convergence
3.1. The Evolution of a Studio
3.2. How the Michael Chekhov Technique Influences and Supports the Elements of the Sanford Meisner Approach
3.3. Meisner in the Classroom, Chekhov in Rehearsal - Pairing Complementary Methods in Smaller Liberal Arts Programs
3.4. Studio Work with Meisner as Foundation and Chekhov as Advanced Study
3.5. Activating Meisner and Chekhov in the Secondary Acting Classroom
3.6. Sculpting the Energetic Action: Taking us "Beyond the Verb"
3.7. Sensations in Place of Emotional Preparation for the Students that say "I Can't" and Mean it!
3.8. Re-discovering the Joy
Part 4: Techniques In Practice
4.1. Warming up to Repetition and adding physicality with Chekhov’s Psychological Gesture
4.2. Listening and Responding with the Body; How Chekhov Technique Can Enhance Meisner’s Repetition Exercise
4.3. Finding an Emotional Connection through PGs, POV's and the Ghost Exercise
4.4. A Psychophysical Path to Moment to Moment-The Gift of a Lifetime.
Chekhov’s Repetition Exercise 12-13
Lisa Loving Dalton
4.5. Bringing Meisner and Chekhov Techniques into the Rehearsal Room, Sort of…
Part 5: Continued Collisions and Strategies for The Future
5.1. Conclusion: The Case for Non-Erasure in Actor Training