Practitioner Study: Michael Chekhov

Michael Chekhov, born 1891, is a massively influential theatre practitioner who, after studying under
practitioner Konstantin Stanislavski, went on to forge his own method of acting, taking a great
interest in the actor’s process. In fact, this process was so successful that it impressed actress
Beatrice Straight who invited Chekhov to start an acting studio with her after watching his
performance in The Inspector General.

After the studio disbanded in 1942, due to WW2, Chekhov’s techniques became incredibly popular
in Hollywood, where he trained the likes of Clint Eastwood, Marilyn Monroe and Gregory Peck, as
well as starring in films himself, for which he received Oscar nominations. Slowly, Chekhov’s
methods lost popularity as the more Stanislavskian, psychological approach to acting, in which a
character would experience their character’s emotions became the standard approach for actors
processing roles. However today, due to organisations such as the Michael Chekhov Acting Studio
and the MCA (Michael Chekhov Association) solely train actors with his methods, attempting to
impart his Five Guiding Principles.

Rather than trying to make actors mirror real life, through drawing inspiration from their own lives,
in order to create naturalism like Stanislavski, Chekhov created the psycho-physical method, in
which an actor would influence their emotions through physical movements. Chekhov did not
believe in actors experiencing life as if they were their characters, instead he wanted them to be
fully aware that this was in fact a character separate from them, so that they could use their
imaginations or Creative Individuality to create believable characters rather than just backstories and
experiences.

Secondly, Chekhov developed the skill of Radiating, in which, actors must be able to visualise the
exchanging of energy from one interaction to the next

Chekhov’s 5 Guiding Principles:

1. The actor must train his or her body through the use of psychological exercises.

2. The actor must use intangible means of expression while acting and rehearsing to achieve
tangible results.

3. The actor must employ a creative spirit and the higher intellect to unify the various aspects
of the performance.
 4. The purpose of the Chekhov method is to embody each component of the method as a
means of awakening all parts of the method in order to evoke a creative state of mind.

5. The actor must penetrate each separate point of the Chekhov Technique and then
determine to what degree and by what means it frees his or her talent

Relati ng Chekhov’s Techniques to My Performance:

- Stick, Ball, Cloth – Considering the stick, ball cloth technique, I have decided that Yvonne is a
predominantly cloth character, as she is almost entirely controlled by her emotions. She is
very easily manipulated by her urge to drink and has little to no resolve or motivation. Often
cloth can be used very gracefully, however, Yvonne is a cloth being viciously torn apart and
shredded. Much like cloth, Yvonne is a smothering force, suffocating everyone around her,
tying them up with her responsibilities, or binding them to her with guilt and fear. Her
arguments are incomprehensible and she has no will to do anything other than drink.

- Qualities of Movement – Yvonne is a radiating character, as there is a constant energy that

buzzes through her due to the amount of inner-conflict happening within her mind as it
fights against the urge to drink. This radiating of pain, fear and rage is expressed through
constant shaking, incessant scratching and fast paced talking.

- Direction – Yvonne is a ‘backwards’ character, someone constantly yearning to return to the

past – a time that she perceives was much better than her current life. She attempts to relive
her memories, only to fail, but then refuses to admit to her faults/issues and subsequently
refuses to move forwards.

- Psychological Sculptures – Yvonne is made out of black tar that seeps into the floor, its
fumes suffocate anyone who walks past, however, her attractive figure coated in a thin layer
of honey is what draws people near. Her hair is made of wires, vibrating with electrical
currents, her face is made of marble, slowly decaying and chipping away, within her head is
red wine that sloshes about constantly. Yvonne’s spine is made from thin wires, bent
sloppily into shape, in fact her entire skeleton is. Her muscles are rotting and withering
pieces of meat, decaying as the sculpture ages; her feet are bricks, tethering her to the floor.