Michael Chekhov: Character & Period Style Online Masterclass

  • Michael Chekhov: Character & Period Style Online Masterclass
  • Michael Chekhov: Character & Period Style Online Masterclass
  • Michael Chekhov: Character & Period Style Online Masterclass
  • Michael Chekhov: Character & Period Style Online Masterclass
  • Michael Chekhov: Character & Period Style Online Masterclass
  • Michael Chekhov: Character & Period Style Online Masterclass
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About this course

Duration

2 weeks

Term Start

Monday 13 July to Friday 24 July 2020. Please see the fee and application section for all dates and times.

Entry Requirements

The recommended age for this course is 18+.

This course will give a systematic overview of Michael Chekhov’s Chart of Inspired Acting both exercises and theory with a focus on creating multiple Characterizations, through exercises and Monologues, along with Williamson inspired Period Style Character Movement. Exploring one of Oscar Wilde’s Major Plays, Lady Windermere’s Fan. Featuring individual monologue coaching sessions, culminating in a devised ensemble Character presentation etude.
 


Why choose this course?

This course is for actors, teachers and directors who are new or familiar with Michael Chekhov technique and interested deepening their practice skills and to learn new tools and applications of the Chekhov technique for developing characters set accurately in the Period style of the Play.

Master teachers Dalton and Orlandi have co-taught for over a decade, sharing the renowned NMCA Michael Chekhov Approach, encompassing a clear and precise Pedagogical path, based on Michael Chekhov’s Chart of Tools for Inspired Acting with Williamson inspired Period Style Movement incorporating both methods for Creating Authentic Period Characters on Stage or Camera.

Quotes from notable Michael Chekhov Students: 

“ As Michael's pupil, I learned more than acting... Every time he spoke, the world seemed to become bigger and more exciting. Acting became important an art that increased your life and mind. Acting became more than a profession to me. It became sort of a religion.” 
 Marilyn Monroe  

“Michael Chekhov brings to the actor a far greater insight into himself and his character. He enables the actor to approach any role with new skill and ease. ”
Gregory Peck


Fee and Application Information

Non-accredited online masterclass

Week 1
Monday 13 July - 2pm to 5pm (BST)
Tuesday 14 July - 2pm to 5pm (BST)
Thursday16 July - 2pm to 5pm (BST)
Friday 17 July - 2pm to 5pm (BST)

Week 2
Monday 20 July - 2pm to 5pm (BST)
Tuesday 21 July - 2pm to 5pm (BST)
Thursday 23 July - 2pm to 5pm (BST)
Friday 24 July - 2pm to 5pm (BST)

Course cost:
Early bird £300 (ends 15 June)
Full cost £350

Rose Bruford College Alumni Discounts
Alumni of Rose Bruford College undergraduate and postgraduate courses are entitled to a 5% discount on the full fee. Please contact us for further information

How to Apply

Please email summer@bruford.ac.uk if you have any questions about the course. 

Please click here to view the terms and conditions. 

 


Course content

The course will begin with daily warm-ups drawn from Michael Chekhov and Loyd Williamson techniques and continue with up-on-your-feet explorations of Chekhov tools and their integration with the style of the period. Step-by-step, the course will touch up all basic psychophysical tools and enter more deeply into Characterization using Centers, Imaginary Bodies, Thinking/Feeling/Willing, Archetypes, and Psychological Gesture.

The course will conclude with a monologue work-in-progress presentation with an invited audience. Each participant will have a private coaching from a master teacher.

Michael Chekhov's core exercises will explore; Presence, Character Archetypes, Imaginary Centers, Imaginary body, Character Atmospheres, Period Style Character and Overall Scenic Atmospheres, Qualities of Movement, Radiating and Receiving, Imaginary Place, Archetypal and Psychological Gesture, on Stage and with camera adjustment tips. Chekhov's technique consists of a wide variety of effective acting tools, which can inspire endless possibilities for enlarging the actor's creativity and artistic expression - the actor can then bring this sensibility to the creation of a character, exploration of the text, and inspired performance, awaken the actor’s artistic imagination, and expand the actor’s capacity for Transformation. Lessons are taught to inspire and train actors, directors and teachers.

The pedagogy of this course offers the only “Period Style-integrated Complete Chekhov System” globally. Understand the creative principles of psycho-physical play, character transformation, including application of Period Style, Character body and silhouette, emotional qualities and sensations, awakening the imagination and ensemble improvisation. Each class begins with a warm-up specifically designed to develop the organic connection between the actor's inner life, creative imagination and expressive body.

“You can be sure that any newly acquired abilities in all types of performances will reveal themselves in many unforeseen ways and moments in your professional work. For as soon as you develop them within you, they themselves will find expression through the labyrinthian corridors of your creative spirit.”
Michael Chekhov

Michael Chekhov (1891 – 1955)

Michael Chekhov was a world-renowned early 20th century Russian actor and Director, nephew of the famous playwright Anton Chekhov. He was known for being a true chameleon actor, mesmerizing audiences by making consistently bold choices and disappearing into fully fleshed-out, astoundingly unique characters. Chekhov was openly praised by Konstantin Stanislavsky as his most brilliant student and was highly respected by Group Theatre luminaries such as Stella Adler, Sanford Meisner, Lee Strasberg, and Harold Clurman. He was the acting coach for many Hollywood stars of his day; Anthony Quinn, Jack Palance, Gary Cooper, Patricia Neal, Gregory Peck, Marilyn Monroe, Beatrice Straight, Lloyd Bridges, James Dean, Clint Eastwood, Elia Kazan, Yul Brynner, Mala Powers, and the technique he developed has inspired many actors currently working today; Jack Nicholson, Anthony Hopkins, Johnny Depp, just to mention a few. Michael Chekhov Technique is applicable to both film and stage work.

Course Directors

Lisa Dalton is President of the NMCA National Michael Chekhov Association. She is a master teacher of Michael Chekhov¹s acting technique and a noted documentarian and author of The Michael Chekhov Playbook. She is the co-producer of From Russia to Hollywood, the award winning documentary and contributed about one third of the footage for Michael Chekhov: The Dartington Years and Anthony Quinn’s Life and Encounters with Michael Chekhov.

Since 1994, Lisa Dalton has been on the Faculty of the Chekhov Theatre Institute, co-created with Mala Powers, Chekhov Estate Executrix, training acting teachers and professional actors through the longest running Chekhov Intensive worldwide, offering Teacher Training Certification and Directing and Acting Certification. Lisa was the Creator/Artistic Director of the first two International Michael Chekhov Workshops in the United States at the Eugene O’Neill Theatre Center in Connecticut.

As a student of the Chekhov technique since 1980, Lisa studied with first generation Chekhov teachers: Beatrice Straight, Deirdre Hurst du Prey, Hurd Hatfield, Eddy Grove, Joanna Merlin, Mala Powers, George Shdanoff, Jack Colvin, Felicity Mason, Eleanor Faison, and Ford Rainey. Lisa has developed applications of Michael Chekhov’s theories for stage and film directing, for artistic promotion, for on-camera acting in various forms comedy, auditioning for film and television. She taught at the American Film Institute Screen Actors Guild Conservatory in Hollywood CA and from 1988-2006. She has continued to offer workshops with the SAG/AFTRA and Professional Actor Training Programs.

Lisa is currently writing and publishing materials on applications of and further developments of Michael Chekhov¹s technique. Lisa has taught in London, Berlin, Paris, Brussels, Moscow, Mexico, Africa and the Caribbean. Her Amazon best-seller books include Falling For The Stars: A Stunt Gal’s Tattletales andMurder Of Talent: How Pop Culture Is Killing “IT”.
 

Janice Orlandi is the Artistic Director, Actors Movement Studio NYC, a movement and period style specialist and a certified teacher of Williamson Technique and Michael Chekhov Technique. She trained extensively in Viewpoints, Suzuki and Composition with Ann Bogart, Tina Landau and SITI Company, rasaboxes ™ and Alba Emoting.

Janice is currently writing book on physical technique for the actor and cross training: The Art Of Transformation - Crossing Pedagogy.

Janice is a Professor of Period Style at Atlantic Theatre NYU TISCH, Teaches Michael Chekhov and Movement For Actors “The Arts of Transformation,” Herbert Bergoff HB Studios, NYC. Former Adjunct Professor University of the Arts, School of Performing Arts PA. Movement Director & Period Style Choreographer for: “The Other Mozart” London St James Theatre, Here Arts Festival NYC, NY Times Review “Riveting” Cherry Lane Theatre Solo Festival, Period Movement for Red Velvet, Lantern Theater Philadelphia,. Directing credits include: “Bette Davis Ain’t for Sissies” (Five Stars at Edinburgh Fringe Festival), St. James Theatre Studio London UK;Theater Row, Laurie Beechman, 59E59 Theater in NYC. “Garbo Dreams” at Red Room NYC

Her work as an educator, director, actress and movement coach has been seen at Williamstown Theatre Festival, De Lindenberg Centrum Voor KunstCulture Netherlands, Odense State School, Denmark, Princeton Repertory Shakespeare Festival, CSC Classic Stage Company, Circle Rep lab and many others. Co-Artistic Director of Echo Repertory, She is a founding Member of Expanded Arts Theater & Shakespeare in the Parking Lot NYC. Featured in Backstage and American Theater Magazine, Member of SAG/AFTRA, AEA.

Read 'Soul of the American Actor' a recent article by Janice Orlandi

“Dalton’s sequential schematic flyover of all the tools, which included ‘Archetypal Gestures’, ‘Radiating and Receiving’, ‘Objectives’, ‘Tempo/Rhythm’, ‘The Four Brothers’, ‘Qualities and Sensations’ and ‘Focal Points’, provided a particularly rich context and edification for exploration of the ‘Psychological Gesture’.

“These elements proved constructive when incorporated with features of Period Style led by Orlandi using selected props and costumes to develop individual characterizations together with scene qualities, dynamics and dramaturgical arrangements. By the end of the week participants bravely strove to bring all the tools to bear on scenes from An Ideal Husband.”

~ Aiden Condron
Participant - Rose Bruford Michael Chekhov & Style Masterclass 2019


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