The purpose of the technique is to inspire, to find a creative state that is both pleasing to be in,

and also full of the power of expressing oneself.

I define it as the force that moves the body, a substance that is neither
muscle nor bone. It is the life force. It is called by many different
names, a few of the more common usages are spirit, chi or prana.

every role requires its own technique

The nephew of Anton chekov, Michael chekov was, by common consent, one of the most
talented actors ever to have worked at the Moscow Art Theatre and the First Studio. Trained by
Stanislavski, he acquired a deep understanding of the ‘system’ and practised it until he
developed a method of his own, into which he incorporated most of its basic elements. He did,
however, harbour certain reservations about Stanislavski’s method, in particular that every
action should be ‘true’ and performed as in life. What , chekov asked is the ‘truth’ of the
fantastical characters like Don Quixote? Is his action ‘in real life’?

He didn’t concern himself with primary training. His teachings were mainly intended for those
who already had experience as professional actors but who needed guidance on how to work
on a role.

Chekov’s approach is much more personal and subjective than Stanislavski’s. Whereas,
Stanislavski’s approach is through consciousness, chekov’s approach is much more intuitive,
global.

Both agreed that although actors wanted to achieve a state of ‘inspiration’, it is not a state that
could be commanded at will. The ‘system’ doesn’t manufacture inspiration. It just prepares the
ground for it.