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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.

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TojointheNewPathwaysNetworkpleaseemailusatchekhov.new.pathways@gmail.comandgiveusyourname,yourareaofpractice,yourrelatedcompany/institution,andatelephone