Discovering the Michael Chekhov Technique : In the Studio with Ted Pugh and Fern Sloan.

Format:

Book

Author/Creator:

Carter, Danielle.

Language:

English

Subjects (All):

Chekhov, Michael, 1891-1955.

Pugh, Ted.

Sloan, Fern.

Actors.

Theater rehearsals.

Local Subjects:

Chekhov, Michael, 1891-1955.

Pugh, Ted.

Sloan, Fern.

Physical Description:

1 online resource (149 pages)

Edition:

1st ed.

Place of Publication:

London : Bloomsbury Publishing Plc, 2026.

Summary:

This book unpacks the Michael Chekhov acting technique by putting us in the classroom with master teachers Ted Pugh and Fern Sloan, who have collectively taught the Michael Chekhov Technique for 80 years across the world.

Contents:

Cover

Half Title

Title Page

Copyright Page

Dedication

Contents

List of figures

Biographies

Foreword

A Note from Ted Pugh and Fern Sloan

Preface

Chapter 1: Introduction: Origins of the Chekhov work

The Dartington ladies

Ted Pugh

Fern Sloan

The collaboration begins

From students to teachers

The Actors' Ensemble

The Chekhov work today

Why pursue a technique at all? The Chekhov perspective

Chapter 2: The essentials

Laying the foundation: key terms and concepts

Listening to the body

The psycho-physical

Images

Tangible and intangible

Sensing and thinking

The inspired state

Crossing the threshold

Expanding and contracting

The actor's ideal centre

The qualities of movement

A note on terminology: 'radiating'

Transitions between the qualities of movement and moments of change

Qualities of movement and parts of the body

The four brothers

Ease

Form

Beauty

A feeling of the whole

The four brothers together: bring your unknowing into being

Radiating and receiving

Radiating

Receiving

Radiating and receiving together

Throwing a ball to understand radiating and receiving

The technique of radiating and receiving

The three physical centres - thinking, feeling and will

Directions

Front-space and back-space

In and out

Directions and gesture

How to use direction in developing a character

A Practical Application for Directions: The First Pass at a Script

Trajectories

Final points on directions

Chapter 3: Transformative tools

Imaginary centres

Choosing your imaginary centre

Working with imaginary centres

Moving and changing centres

Staccato and legato

The polarity of staccato and legato

Using staccato and legato to fill out a character

Inner and outer tempo

Quality and sensation.

Large packages of feelings/sensations and our personal feelings

Through the will

Atmosphere

Objective atmospheres

Personal atmosphere

Personal atmosphere and objective atmosphere

How to create an atmosphere

Imaginary body

Playing with imaginary bodies

Moments of change with imaginary body

Archetype

Listening in to the archetype

Deciding on an archetype

Psychological gesture

The difference between movement and gesture

How to develop a psychological gesture

How to use psychological gesture

Chapter 4: Putting the tools to use

The first read of a play

Working with images

Layering the tools

Working with limited time

Camera work

Moments of change

Bringing the technique onto the stage

Chapter 5: Class exercises

The essentials

Expanding and contracting - a beginner's class

Expanding and contracting - advanced

Opening and closing gestures, or expanding and contracting?

Qualities of movement - a beginner's class

Moulding (earth)

Floating (water)

Flying (air)

Radiating (fire)

Moulding, floating, flying and radiating

Qualities of movement - advanced

Exercise 1

Exercise 2

Exercise 3

Four brothers - a beginner's class

Four brothers - advanced

Exercise 4

Touch and contact

The three centres

Front

Back

Down

Up

Transformative tools

Straight lines and curves with imaginary centres

Qualities of movement with tempo

Sensation with tempo

Quality and sensation

Quality and sensation through straight line and curved line

Ensemble and objective atmosphere

Stick, ball, veil

Archetypes

Awakening to gesture.

Exercise 1

Psychological gesture - adding quality and objective

Using a mask to explore archetypal gestures

Choices, contact and point of focus

An exercise for the last week of class: an invitation

Chapter 6: Some guidance for teaching the Chekhov work

Misconceptions about the Chekhov technique

Beginning a class: training actors to become receptive

Teaching focus and concentration

Working with young actors

Teaching non-actors

Teaching images

Teaching imaginary body, imaginary centre and gesture

On using balls as a teaching aid

Wrapping up

In conclusion

Acknowledgements

References

Web addresses

Index.

Notes:

Description based on publisher supplied metadata and other sources.

Part of the metadata in this record was created by AI, based on the text of the resource.

ISBN:

1-350-32061-7

9781350320611

OCLC:

1568044405