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MICHAELCHEKHOVUK
MichaelChekhovintheTwentyFirstCentury:NewPathwaysResearchProjectShortReport2017
NewPathwaysNewPathways is amajormulti-institutional researchproject that involvesGoldsmithsUniversityof London, theRoyalCentral Schoolof SpeechandDrama,QueenMaryUniversityofLondon,theUniversityofKent,theprofessionalorganisationMichaelChekhovUK(www.michaelchekhov.org.uk)andTheChekhovCollective.TheleadresearchersareDrCassFleming(Goldsmiths,UniversityofLondon,MCUK,TCC)andDrTomCornford(RoyalCentralSchoolofSpeechandDramaandMCUK).This long-termprojectstarted in2013andculminatedwithaseriesofResearchEventsatGoldsmiths,UniversityofLondoninSeptember2016. Theoutcomes of the project will be discussed in the forthcoming publicationMichael Chekhov Technique in the Twenty First Century: New Pathways(BloomsburyMethuenDrama2019),editedbyDrCassFlemingandDrTomCornford.Atthisstagewewouldliketoshareanoverviewoftheinspiringworkthathasbeendoneundertheauspicesoftheproject,whichdemonstratesthatChekhov’sideasandapproachesarebecomingincreasinglyrelevantandcentraltocontemporarypractice,bothintheatrepracticesandbeyond.
ParticipantsattheResearchEvents,September2016.Photographs:KaterinaKotti
Th e C hek h ov C o l l ec t i ve
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Why?Sincethelate1980sinterestinMichaelChekhov’s(1891-1955)TechniquehasgrownrapidlyintheUKandhasbeenrecognizedforitsinnovationandaccessibility.ExplorationofChekhov’simaginativetechniqueshasprimarilybeenlimitedtoactingandactortrainingpracticeinthetwentiethcentury.ThereweresomeusefulpreliminaryexplorationsofotherusesofChekhovTechniquebutwefeltstronglythatthisneededtobetakenfurtherandintonew areas. This innovative project brought together professional practitioners and scholars from different disciplines to investigate new uses ofChekhov’stechniquesbothwithinandbeyondthetheatreintheUK.Thegenesisofthisprojectwasanexchange,andsubsequentseriesofeditedinterviews,withinMichaelChekhovUKabouttheworkinthisfieldandhowwecouldexplorenewpathwaysforthispracticeinthefuture(Cornford,FlemingandRushe,2013)1.Whatquestionsdidweask?Thecentralresearchquestionweposedinthisprojectwas:HowcanChekhov’stechniquesbeusedincontextsotherthanactortrainingdesignedfortheinterpretationofexistingdramaticliteratureina21stCenturycontext?EachstrandoftheprojecthasdrawnonthericharchivalmaterialsheldontheworkoftheChekhovTheatreStudioatDartingonHallandhasexploredhowitcouldbeusedinrelationtodifferentcontemporarypractices.Thisoverarchingresearchquestionwassplitintofivekeyareas:
1. Chekhov Technique: Processes of TheatreMaking. Exploring thepossibleusesof the technique indevised theatre-making, systemsof catalystdirection,andforcollaborativewritingpractices.
2. Chekhov Technique:Beyond Acting. Considering the possible uses of the techniques for the training/performance by teachers of Dance andMovement,TheatreDesignandVoiceWork.
3. ChekhovTechnique:BeyondtheTheatre.Experimentingwiththepossibleusesofthetechniqueforappliedtheatreandtherapeuticpractices.1 'The Michael Chekhov Centre UK Past, Present and Future: An Inter-Generational Dialogue,' an edited selection of interviews with Sarah Kane, Graham Dixon and Martin Sharp by Tom Cornford, Cass Fleming and Sinéad Rushe in Franc Chamberlain and Andrey Kirillov (eds), 'Michael Chekhov in the C21st: New Sources, New Contexts, New Perspectives,' Theatre, Dance and Performance Training, Special Issue 4.2, Routledge, 2013.
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4. ChekhovTechnique:CrossCurrents.InvestigatingwhatnewusesofChekhovTechniquearedevelopinginotherpartsoftheworldandfacilitatingwaystoshareexperimentsandfindingswithinternationalpartners.
5. ChekhovTechnique:Past,PresentandFuture.Identifyingwaysthatcontemporarypractitioners/scholarscanusethehistoricalmaterialsasa‘livingarchive’.
Withwhom?ArelatedaimoftheprojectwastoextendanddiversifytheexistingChekhovcommunitybyoutreachingtonewgroupsofpractitionersfromdifferentdisciplines.Consequentlytheprojectwasdesignedtooffercompletelyfreeandinclusiveeventstoarangeofpractitionerswhohadlittle,orno,priorexperienceof Chekhov Technique. These events enabledparticipants fromdifferent fields, for example therapists, theatredesigners or teachers ofvoice,totryamethodologythatwasnewtothemandnotcurrentlyincludedintrainingandprovisionintheirsectors.Atthesametimewehopedthatthesenewexchangeswithnewcomerstothetechniquewouldhelpusinterrogatethepracticeinfreshandinnovativewaysandhelpusconsider thepotential for furthercross fertilisationwithothermethods,approachesanddisciplinarypractices.Wealsowanted todiscoverwhatthiswidergroupofpractitionersfeltheldpotentialintheirrespectiveprofessionaldisciplines,andwhy.Onreflection,wefeelthatthisresearchprojecthasfulfilledtheseaimsandareexcitedtonowbeconsideringanumberofnewdevelopmentsanddebates.How?TodothisDrCassFlemingandDrTomCornfordbroughttogetheragroupofscholars,researchers,therapists,clinicians,social/appliedpractitioners,theatrepractitioners, designers andperformancepedagogues toexplore, interrogate and valorizeChekhov’swork in a twenty first century context.EachstrandoftheprojectdrewontherichDartingtonHallTrustarchivalmaterials.EarlyOutreachandResearchEvents
• WorkshopinChekhovTechniqueforCatalystDirection,NationalTheatreStudio(2013).Aworkshop,ledbyDrCassFleming,wasthefirstinclusionofemergingdirectorsintotheoutreachoftheproject.
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• LaunchofTheChekhovCollective,Goldsmiths,UniversityofLondon(2013-Ongoing).Afterpreliminaryexperimentsrelatedtothisproject,theCollectivemetbi-weeklytoundertakeworkonthepractice-basedresearchstrandofthisprojectexploringtheuseofthetechniqueinrelationtoDevisedTheatreMakingandCatalystDirecting.Thisledtothedevelopmentofthepractice-as-researchworkonAntoinedeSaint-Exupéry’sTheLittlePrince,continuingtouseandexplorearchivalmaterialfromDartington.
TheChekhovCollectiveledbyDrCassFleming,GoldsmithsUniversityofLondon.Photograph:KaterinaKotti
• WorkshopseriesexploringChekhovwithLinklaterTechniqueforVoice,RoyalCentralSchoolofSpeechandDramaandActorsCentre(2014-
15).LedbyDarronOramandSineadRushe,theseworkshopsexploredquestionsofpresenceandtheaudiencethroughthevoice.ThisresearchwassubsequentlysynthesisedintothecurriculumfortheBAActing(CollaborativeandDevisedTheatre)atRoyalCentralSchoolofSpeechandDrama.
ChekhovandLinklaterWorkshopledbyDaronOramandSinéadRushe,RoyalCentralSchoolofSpeechandDrama.Photograph:MattherChurcher.
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• Practice-as-researchperformance:Demons,adaptedfromDostoyevsky’snovel,UniversityofYork(2015).DrTomCornfordandDrHannahDaviescarriedoutextensivepractice-as-researchrelatingtotheirstrandoftheResearchProjectonChekhovTechniqueforCollaborativeWriting.ThisprojectwasinspiredbyChekhov’sadaptationofthesamenovelintheearlytwentiethcentury,andrelatedarchivalmaterials,butconsideredfromatwenty-firstcenturyperspective.
Demons,acollaborativewritingprojectdevelopedbyDrTomCornfordandDrHannahDavies(Playwright).Photo:TimothyKelly
• PresentationatPerformanceResearchForumDis-Play[24],GoldsmithsCollege(2015).Fleming,CornfordandMitchell,withfiveactor-devisersfromTheChekhovCollective,gaveapaperdiscussingtwostrandsoftheNewPathwaysProjecttoartists,academicsandstudentsfromacrosstheUK.
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• WorkshopsandTalksforYoungDirector’sProgramattheYoungVicTheatre(2016)RunbyFleming,MitchellandtheChekhovCollective,theseverysuccessfulandpopulareventswithemergingdirectorswillbefollowedupbyaMasterclassin2018.
DrCassFlemingandmembersofTheChekhovCollectivewithdirectorsfromtheYoungVicGenesisProject.Photograph:KaterinaKotti.
• Practice-as-Researchperformances:TheLittlePrince,QueenMary(June2016),andGoldsmiths,UniversityofLondon(September2016).TheChekhovCollectivepresentedtheirpractice-as-research,usingarchivalmaterialsandAntoinedeSaint-Exupéry’sTheLittlePrinceasastimulus
TheLittlePrince,TheChekhovCollectivedirectedbyDrCassFleming,GoldsmithsUniversityofLondon.Photograph:KaterinaKotti.
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OutputsI
Thisdiagramoutlinestheresearchprojectstructure,thedifferentphases,therangeofoutputsandtheimpact.
ProjectPartners§ Goldsmiths,University
ofLondon§ RoyalCentralSchool
ofSpeechandDrama,UniversityofLondon
§ QueenMary,UniversityofLondon
§ TheUniversityofKent§ MichaelChekhovUK§ TheChekhov
Collective
NewPathwaysExploredChekhovTechniquefor:§ DevisedTheatreand
CatalystDirection§ CollaborativeWriting§ TheatreDesign§ VoiceandSinging§ MovementTrainingand
Dance§ CommunityContexts,
DramaTherapy,PsychotherapyandHealthContexts
Phaseone:archivalandpracticebasedresearchandearlyoutreachevents§ Intergenerationalexchangewithin
theMCUKleadingtoeditedinterviewspublishedbyRoutledge.
§ ArchivalresearchcarriedoutbyDrCassFlemingandDrTomCornford.
§ LongertermPaRstarts:DrCassFleminglaunchesTheChekhovCollectiveatGoldsmithsDrTomCornfordstartsPaRwithDrHannahDavies(playwright).PapergivenatDis-PlayatGoldsmiths.
§ DrCassFlemingrunsworkshopsfordirectorsattheRNTStudioand,withTheChekhovCollective,fortheYoungVicTheatreDirector’sProgram.
§ DaronOramandSineadRusheleadtwoworkshopsonChekhovandLinkaterTechniqueforvoiceatCentralandtheActors’Centre.
§ DrRoannaMitchellcarriesoutPaRonChekhovTechniqueforDanceandChoreographywithvariousindependentpractitioners.
§ ZoeBrooksusesthetechniqueinherworkasaDramatherapistandMartinSharpusesthetechniqueinhisworkasaPsychotherapist.
OutputsIResearcheventsforover120participantsatGoldsmithsSeptember2016:§ Workshopfornonactors§ Praxis-Symposiaforeachof
thesixkeyareasexplored§ Research&Development
sharingonthetwolongertermPaRprojects
§ Papers§ AcademicRespondents§ Plenary§ CrossCurrentsInternational
Exchange§ SocialNetworkingeventsOutputsII§ ProjectReport,2017§ Publicationofthebookbased
ontheprojectandrelateddigitalresources,2019
§ FollowupeventsrunbyTheChekhovCollectiveongoing
§ SelectedNewPathwaystakenfurtherinasecondroundofresearchprojects2018-2019
Impact§ SharingmaterialheldatDartington
morewidelytocreatealivingarchive.
§ Experimentalusesofthetechniqueinnewcontextsbothwithinandbeyondthetheatre.
§ Findingnewwaysofusingthetechniquefordifferentparticipantsandgroups.
§ Discoveringanddiscussingnewblendswithothermethodsandapproaches.
§ Developingnewcriticalknowledgeabouttheuseofthetechniqueinacontemporarycontext.
§ ExtensionanddiversificationoftheUKChekhovCommunityintheculturalsector,academiaandconservatoiresandinbroadercommunityandhealthcontexts.
§ Improvedinternationalexchangeonworkintheseandothernewpathways.
§ AnewmethodologicalapproachtoPaRwhichhasnowinfluencedaseriesofnewresearchprojectsinthesector.
§ Trickledownimpact:participantsinvolvedintheeventsfurthersharethetechniquesandideas.
Collaboratorsandbeneficiaries:AcademicResearchers;AppliedTheatreMakers;CollaborativeTheatreMakers;Choreographers;DevisedTheatreMakers;Directors;DramaTeachers;DramaandMovement;MovementandDanceTeachers;MovementDirectors;Performersfromdifferentfields;Post-GraduateStudents,Psychotherapists;TheatreDesigners;VoiceTeachersandWriters.InternationalPartnersintheUS,Canada,Israel,HamburgandHolland.Colleaguesfromtheartsandculturalsector:Actors’Centre;RoyalNationalTheatreandTheYoungVic.
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ResearchTeamThisdiagramshowsthefullresearchteamandhowtheyeachcontributedtotheprojectanddifferentevents.TheResearchTeamLeadResearchers:DrCassFleming(Goldsmiths,UniversityofLondon)andDrTomCornford(RoyalCentralSchoolofSpeechandDrama,UniversityofLondon)
• ChekhovTechniqueforDevisedTheatreandCatalystDirection–DrCassFleming(GoldsmithsUniversityofLondon),DrRoannaMitchell(UniversityofKent)andmembersofTheChekhovCollective
• ChekhovTechniqueforCollaborativeWriting–DrTomCornford(RoyalCentralSchoolofSpeechandDrama)• ChekhovTechniqueforTheatreDesign–SinéadRusheandAldonnaCunningham(RoyalCentralSchoolofSpeechandDrama)• ChekhovTechniqueintheCommunity,DramaTherapy,PsychotherapyandotherPsychotherapeuticandhealthcontexts–ledbyDrCaoimheMcAvinchey
(QueenMaryUniversityofLondon),MartinSharp(MCUK)andZoeBrooks(BazookaArts)• ChekhovTechniqueforVoiceTrainingandSinging–ledbyDaronOram(RoyalCentralSchoolofSpeechandDrama),withChristinaGutenhunst(E15)and
JohnGillett• ChekhovTechniqueforMovementTrainingforActorsandDancers–ledbyDrRoannaMitchell(UniversityofKen)andJulietChambers(GuildfordSchoolof
Acting)• ChekhovTechniqueforNonActors–GrahamDixon(MichaelChekhovStudioLondon/MCUK)andJuliaKrynke(MCUK).• ResearchandDevelopmentPaREvent–DrCassFlemingandTheChekhovCollectivepresentedR&DmaterialonAntoinedeSaint-Exupéry’sTheLittlePrince
drawingonarchivalmaterials.DrTomCornfordpresentedonhiscollaborationwithplaywrightDrHannahDaviesthatledtotheirperformanceofDemons,inresponsetoChekhov’soriginaladaptation.
• AcademicAuditors–ProfessorFrancChamberlian(UniversityofHudderfield)andDrCaoimheMcAvinchey(QueenMaryUniversityofLondon)• Plenary–ChairedbyDrCassFleming(GoldsmithsUniversityofLondon)• ShortPapers-ZoeBrooks(BazookaArts),DrRoannaMitchell(UniversityofKent)andUlrichMeyer-Horsch(MichaelChekhovEurope/MICHA)• CrossCurrentsInternationalExchange–ChairedbyGretchenEgolf(MCUK/MICHA)withMICHAfacultyincludingJoannaMerlinandRagnarFriedankinthe
USAandMarjoleinBaarsinHolland.Archivalsourcestakenfrom:
• MichaelChekhovTheatreStudio,DeirdreHurstduPreyArchives,heldbytheDartingtonHallTrust.
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TheResearchEventsSeptember2016Weweredelightedtohostover120participantsfromawidevarietyoffieldsatthemajorresearcheventatGoldsmiths.Thefirstdaysawaverysuccessfulworkshopfornon-actors,whichenabledmanyofourparticipantstotrythetechniqueforthefirsttime.IntheeveningthetwolongertermPractice-as-Researchprojectsweresharedwithanaudienceandfollowedbyapost-showdiscussionconsideringthespecificquestionsandarchivalmaterialsthatwerebeingexplored.ThesixPraxis-SymposiasessionsthatwereheldontheSaturdayandSundayincludedsharingandexploringselectionsofarchivalmaterialandaconsiderationofthepracticesthatweredevelopedatDartingtonbyChekhovandhiscollaborationsinthe1930s.Chairsandcontributingpractitioners/scholarssharedthewaysinwhichtheywereusingandblendingChekhovTechniqueinthenewpathwayareasthroughbothpracticalexercisesandtasks,anddiscussionoftheirworkandexperiments.Otherparticipantssharedtheirownexperiments,experiencesandreflectionsontheuseofthetechnique.Theideasandmethodswereunpacked,debatedandconsideredinrelationtonewuses,newparticipants,andinantwenty-firstcenturycontext.Blendswithotherapproachesandtechniqueswereshared,aspectsofthetechniqueorterminologycritiqued,methodsandprincipleshighlightedashavingthemostpotentialfornewusesandfordifferentpurposes.Thebroadersocio-politicalandcriticalissueswerediscussedalongwithdevelopmentsinthemanydifferentfieldsthatwererepresentedattheevents.OntheSundayafternoon,participantsgatheredtogetherforthefeedbackfromtheAcademicRespondentswhohadauditedallthesessions.ThiswasfollowedbyadynamicChairedPlenaryaddressingmanyoftheissuesandideasthathadcomeupinthesessionsanddebatesthathadbeennotedbytheRespondents.LaterthatafternoontwoshortpapersweredeliveredontheuseofChekhovTechniqueinnewareas.ForthefinalCrossCurrentseventwewerefortunatetobejoinedbyonespeakerfromGermanyinpersonwhodeliveredashortpaperoninspiringworkinotherpartsoftheworld,andthiswassubsequentlyopenedouttoaChaireddiscussionwithinternationalfriendsintheUSAandHollandviaSkype.Inadditiontotheformalevents,therewasagreatdealofdynamicdiscussionatthelunchesandtheeveningsocialeventsoverthethreedays.Connectionsweremade,ideaswerehatchedandthecommunitygrewanddiversified.
ParticipantsattheResearchEvents,September2016.Photographs:KaterinaKotti
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Whatnow?OutputsIIA longer project report on theprojectwill bepublished later this year and the forthcomingbook,Michael Chekhov Technique in the Twenty FirstCentury:NewPathways(BloomsburyMethuenDrama),editedbyDrCassFlemingandDrTomCornford,willbepublishedin2019.Wewillalsobefurtherdevelopingourworkonanumberofthestrandsexploredin,andaimsof,theproject.Thiswillinclude:
• Afollowupimpactsurveywithparticipantsofthevariousevents.• AfutureprojectonourworkonChekhovTechniqueintheCommunity,DramaTherapy,PsychotherapyandotherPsychotherapeuticandhealth
contexts.Seewww.michaelchekhov.org.uk/michael-chekhov-in-the-twenty-first-century-new-pathways/• DaronOramwillbedevelopingfurtherworkshopsforvoiceteachers.• TheChekhovCollective,ledbyDrCassFlemingatGoldsmithsandDrRoannaMitchellatKent,isofferinganewseriesofeventsfor2018-2019
whichhasthusfarincluded:o Dr Roanna Mitchell and The Chekhov Collective worked with Juliet Chambers and the Labanarium to run a further research and
explorationsessiononthecrossoversbetweenChekhovandLabaninJanuary2018andhavebeeninvitedtorunafollow-upinAthens,July2018.
o SianClarkeledasessionexploringherusesofChekhovTechnique‘SoloComedyandWriting:Learningtocollaboratewithyourself’o TomBostockofGRUFFTheatreCompanyranasessionon‘ChekhovTheGrotesqueandtheFantastical’o DrCassFlemingworkedwithAmyRussell,FounderandPedagogicDirectorofEmbodiedPoetics,torunapublicworkshopexploringthe
synergiesbetweenChekhovTechniqueandLecoqPedagogyin2018.o DirectorRebeccaFrecknallranasessionfordirectorson‘ChekhovandTheChorus’inJune2018.o A panel discussion was held at the Jerwood Space – ‘Directors as Collaborators: On hierarchy, empowerment and kindness in the
rehearsalprocess’.o GretchenEgolf(MCUK)willbeleadingasessionon‘ChekhovandMusicalityinPerformance’inJuly2018.o Seethewebsitefordetailsfurtherdetailshttps://www.cassfleming.com/chekhovcollective/
• ContinuingtogrowanddiversifytheNewPathwaysNetworkintheUK.• Continuingtonurtureourrelationshipwithinternationalcolleagues.
ImpactandcrossfertilisationOurprojectdesignandmethodologicalapproachtoPractice-as-Researchhasinturninspiredvariousotherprojectssince2013andwehopethatitwilladdtothedevelopmentofthisfieldofresearch,professionalandacademicpractice.