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 and new and rising stars in the field. The authors provide philosophical arguments on actor training, innovative approaches to methodology, and explorations into integration, as well as practical methods of application for the classroom or 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.
Sprache
Verlagsort
Verlagsgruppe
Zielgruppe
Für höhere Schule und Studium
Illustrationen
12 s/w Abbildungen, 12 s/w Zeichnungen, 1 s/w Tabelle
1 Tables, black and white; 12 Line drawings, black and white; 12 Illustrations, black and white
Maße
Höhe: 229 mm
Breite: 152 mm
Dicke: 15 mm
Gewicht
ISBN-13
978-0-367-45864-5 (9780367458645)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Anjalee Deshpande Hutchinson is Professor and Chair of the Department of Theatre and Dance at Bucknell University in Lewisburg, Pennsylvania. She received her BA in Theatre from Kalamazoo College and her MFA in Directing from Northwestern University. In addition to directing, Anjalee's scholarship includes devised theatre and acting technique. Anjalee is certified in the Michael Chekhov Technique from the National Michael Chekhov Association, and the Sanford Meisner Technique from the True Acting Institute, and has also trained in Moment Work with the Tectonic Theatre Project.
Introduction
Anjalee Deshpande Hutchinson
Part I: The Masters
1 The Meisner Approach: "Be simple and rediscover the world"- Dostoyevsky
Susan Coromel
2 The Relevance of The Meisner Technique in Today's Actor Training
Tom Prior
3 Michael Chekhov's Inspiration for Actors
Dawn Arnold
Part II: Expeditions in Deep Training
4. Meisner in the Undergraduate Setting
Greg Ramos
5 Teaching the Michael Chekhov Technique in an Undergraduate Program: The Problem and the Arrival
Mark Monday
6 Reality vs Pretend: How to Surmount Collisions In Search of Truth
Lisa Dalton
7 We Are Not Historians: A Manifesto for Teachers
Kimon Fioretos
Part III: Methods in Convergence
8 The Evolution of a Studio
Liz Shipman
9 How the Michael Chekhov Technique Influences and Supports the Elements of the Sanford Meisner Approach
Susan Coromel
10 Meisner in the Classroom, Chekhov in Rehearsal: Pairing Complementary Methods in Smaller Liberal Arts Programs
Anjalee Deshpande Hutchinson
11 Studio Work with Meisner as Foundation and Chekhov as Advanced Study
Robb Maus
12 Activating Meisner and Chekhov in the Secondary Acting Classroom
Eric Young
13 Sculpting the Energetic Action: Taking us "Beyond the Verb"
Alexis Black
14 Sensations in Place of Emotional Preparation for the Students that say "I Can't" and Mean it!
Kimon Fioretos
15 Re-discovering the Joy
Wil Kilroy
Part IV: Techniques In Practice
16 Warming up to Repetition and Adding Physicality with Chekhov's Psychological Gesture
James Savage
17 Listening and Responding with the Body: How Chekhov Technique Can Enhance Meisner's Repetition Exercise
David Haugen
18 Finding an Emotional Connection through PGs, POV's and the Ghost Exercise
James Savage
19 A Psychophysical Path to Moment-to-Moment: The Gift of a Lifetime: Chekhov's Repetition Exercises 12-13
Lisa Loving Dalton
20 Bringing Meisner and Chekhov Techniques into the Rehearsal Room, Sort of...
David Haugen
Part V: Continued Collisions and Strategies for The Future
21 Conclusion: The Case for Non-Erasure in Actor Training
Anjalee Deshpande Hutchinson
