Chapter One
Tools of the Michael Chekhov Technique Used in This Book
You will find in Appendix I more terminology with expanded definitions and exercises on much of the following:
Accents (AX)
A spike in atmosphere. Youâll see I deal with AXâs for a brief while and then allow you to deal with them on your own. This will make sense as you work through the book.
Action (AC)
Action can be defined as (what I do to get what I want). Actions are discovered through the given circumstances. They are verbs such as: I smash, I embrace, I penetrate, I lift. They are what we do to reach our goals. I strongly prefer that actors begin with âIâ to state their ACâs. The actor is playing the character. The character is not playing the actor.
Note: You will work with industry professionals who use the word âtacticsâ instead of Action. Simply know that what they really mean is Action as a tactic is something we plan to do. Once we put the plan into motion it becomes Action. (Drives me nuts.)
Archetype (AR)
Every character, every human being, is composed of various archetypes. I write about this extensively in my first book, Directing with the Michael Chekhov Technique. For our purposes in this volume I identify characters with archetypes in each soliloquy or monologue.
ARâs are universal truths that identify and categorize us. They guide actors in choices of ACâs and Qualities of Action. ARâs serve us in how the audience knows the characters.
A good source for archetype definitions is âArchetype Cardsâ by Caroline Myss. The cards are available on Amazonâas is my first book.
Artistic Frame (AF)
The Artistic Frame is similar to, yet more profound, than Stanislavskiâs âbeats.â Stanislavski describes the beat as âone swing of the pendulum.â That is a lovely image. The AF has a beginning, middle, and ending. Lenard Petit says it is âpreparation, sustaining and radiating.â In our organization, the Great Lakes Michael Chekhov Consortium, we have labeled the AF with Fantasize, Do, Radiate (FDR). It really is all of these things that make it profound.
When using FDR we first fantasize the AC (the Psychological Gesture, PG, see below) and the Quality of Action (also see below) preceding the physical body toward our scene partner. It is not necessarily a visual image we are fantasizing. Rather, we fantasize the feeling of our OB being fulfilled because our AC and Quality of Action are successful. We get what we want and we feel great about itâwe feel glad. Chekhov teaches us to âsee our objective fulfilledâ before we execute the Action. To fantasize first, adheres to this directive.
After fantasizing the objective fulfilled and we are full of joy (glad) we then follow the fantasy with the physical doing of the AC and Quality of Action. Afterward we sustain or radiate the feeling until we begin to sense it dissipating. Eventually we recognize a clear ending and move onto the next AFâa new beginning. It is crucial to make the ending clear so we move, and we move the audience, from frame to frame and thereby make the story of the play crystal clear.
Chekhov teaches us to say when working on form, âNow I begin my movement which creates a form.â Upon completion of the form he says, âNow I finished it; the form is there.â When you are rehearsing using a form, a Psychological Gesture, itâs a good practice to use these phrases.
Please note we are not playing a feeling or emotion. We are instead fantasizing an atmosphere that we have experienced hundreds of times. Those archetypal atmospheres are stored in our bodies and we can coax them forward via our imaginationâour fantasy life.
[A] Atmosphere (AM)
Chekhov describes AMâs as, âthe source of ineffable moods and waves of feeling that emanate from oneâs own surroundings.â This description is somewhat not useful to actors and directors because we must be able to articulate the AMâs of the play. Yet, to respect Chekhovâs words, we understand that AMâs live in the realm of emotion and there are times when emotions are difficult to express. Then, there is our knowledge that emotions cannot be played. Emotions must be coaxed into existence via the playing of ACâs and Qualities of Action.
So, are we on a slippery slope? Not at all. We simply must acknowledge that AMâs are written into the given circumstances of the play and then conduct our behavior within those AMâs accordingly. We behave differently in the AM of Fear than we do in the AM of Happiness.
AMâs can be anything we recognize in the realm of mood. There could be an AM of anger or of reverence, of sadness or of a circus. Think of the AM of a church that is hundreds of years old and how oneâs mood might be altered upon entering. Chekhov often works with archetypes or things that are universally recognized such as Psychological Gesture and Qualities of Movement. While he doesnât give us specific archetypes for AM we can borrow from the world of psychology the following: mad, glad, sad, bad, and fear. Psychologists tell us that these five emotions are all encompassing, and all other emotions can be categorized into one of the words in this list. I have found this useful in beginning work. We can get more specific as our work progressesâif we need to do so.
There are two kinds of AM in our Technique: Objective and Individual Feelings. The Objective AM belongs to the space in which we occupy: a cathedral, rock concert, funeral, birthday party. Individual Feelings is the mood we are in at any given time. One might be in a happy mood walking down a tree-lined street. That mood changes quickly should one witness a horrific accident. Still, one might be in a happy mood at a funeral. It all depends on the given circumstances.
Finally, Chekhov points out that two conflicting AMâs cannot exist for an indefinite period of time. Eventually, one AM will give way to another. This occurs when someone acquiesces or leaves the stage. Regardless, AM helps the actor and director create conflictâsomething that is imperative in our work.
Baptism (BP)
The name, or title, of an AF. When working on speeches it is useful to title each AF with a specific description. We always begin with âTheâ. The Confrontation, The Game, The Conclusion, as an example. This will be clear when we begin looking at speeches.
Composition
A series of âlawsâ as described by Chekhov in his book, To the Actor. Some of these laws we can use in our study of sonnets, soliloquies, and monologues. (See Appendix I.)
Climaxes (CX)âWhile it is seemingly obvious that climaxes exist it is prudent to mention them because of the way in which Chekhov suggests we rehearse. It is not the traditional beginning to end process. He suggests we begin rehearsing with the climaxes first and although he means in the context of an entire play, I have found that rehearsing this way in speeches works equally as well. When working on the speeches youâll need to discover the climaxes. Once you discover the main climax, rehearse it first until you feel the height of it. Then, you can return to the beginning to build your Rhythmical Wave. (See below.)
Inner/Outer TempoâThere are times when our inner tempo is quite different than our outer tempo, and it is very interesting to witness on the stage. Imagine trying desperately to hold your temper. Your inner tempo is raging while your outer tempo is fighting to slow things down. It works the other way as well. Imagine an athlete who is spending a tremendous amount of energy (outer tempo) while his or her inner tempo is calm. We tend to call this âbeing in the zone.â The great tennis player Roger Federer is a prime example of this. He is always in control of his inner tempo.
Method of Psycho-Physical Action
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ActionâObjectiveâObstaclesâQuality of ActionâStakes
Action (AC)
See definition above.
Objective (OB)
The characterâs immediate goal. The definition of OB is (what I want).
Obstacles (OS)
The definition of OS is (what is in the way of what I want).
Quality of Action (QA)
As I have said the AC is a verb. The QA is then an adverb. I embraceâtenderly. I penetrateâforcefully. I liftâcarefully. Again, all of this depends on the given circumstances. The definition of QA is (how I do what I do to get what I want).
Stakes (ST)
Literally, what is at stake. The definition of stakes is (what I stand to lose if I donât get what I want). It could also be stated (what I stand to gain if I get what I want). I find it depends on the given circumstances and the archetype of the character as to which definition best suits.
Polarity (PL)âAs Chekhov notes, in a well-written play there is a transformation from the beginning to the ending. As in Midsummer it is a transformation from evil (anger) to good or joy (glad). This is a good âlaw of compositionâ to incorporate in our work in this book for it adds great variety and creates a journey for the character. Chekhov states, âAll the main qualities of the first section should transform themselves into their opposites in the last section.â
For our purposes we also look for Polarity in our ACâs and Qualities of Action. If âI smashâ as our AC is not working to accomplish our objective, we may choose to change to âI embrace.â We begin to build a Rhythmical Wave in this way and take our audience on a beautiful journey.
Psychological Gesture (PG)
Our work in this book on PG will be mainly concerned with it as Action. The PGâs we will explore are: Open, Close, Push, Pull, Lift, Embrace, Throw, Tear (Rip), Wring, Penetrate, and Smash. These PGâs as Actions are archetypalâmeaning they serve as physical forms that are completely recognizable. Each PG has a specific form. You can find a video of actors demonstrating the forms of the PGâs at www.routledge.com/9780367349707
Note: It is a very good idea to look up the definitions for the 11 PGâs and write them down. Youâll find a description of how to rehearse the PGâs and QAâs in Chapter 2.
Like AMâs, these words are all encompassing. All Actions will fall into one of these PGs. We can therefore begin with these words in our process and get more specific, if necessary, as we move on.
The PG has two parts. In the beginning, when just working on the form of the PG, it is called an Archetypal Gesture. It becomes a PG when we add a QA. We say our work is psycho-physical. It may be helpful to think of it as physical-psycho. At first the work is physicalâit is manifested as a formâan Action. When we add the QA it then transforms into the psychological.
Chekhov says that the PG can be used for other purposes. It can be used as a form for the overall character, for a scene, monologue, a line, or a single word. The PG is the one aspect of the Technique that many actors and teachers have heard of. It may also be widely misunderstood.
Rhythmical Wave (RW)âThe journey created, like a roller coaster, by adhering to the other laws. The RW also includes tempo and rhythm.
End Chapter One