Body Voice Imagination: ImageWork Training and the Chekhov Technique

Also Titled Body voice imagination: Author Zinder, David G. The Logic of Training 2. Training Into Writing 3.

A Marriage of True Minds: Imagework Training and the Checkhov Technique App. Exercises by group, number, and page number App. The exercises in alphabetical order. Notes First edition published in under the title: Includes bibliographical references p. View online Borrow Buy Freely available Show 0 more links Set up My libraries How do I set up "My libraries"?

These 9 locations in All: Open to the public Australian Institute of Music Library. Open to the public. Flinders University Central Library. Extent xvi, pages. Label Body, voice, imagination: This title teaches a set of skills so that the actor can be ready to perform at his or her highest level of creativity Cataloging source DLC Dewey number Z54 Literary form non fiction Nature of contents bibliography. Rules of conduct -- Footnote to the theory -- The exercises: The warm-up sequences -- Warm-up sequence I -- The physical warm-up -- Danger work -- Some more food for thought -- Partner warm-ups -- The physical warm-up -- The logic of training up to here -- Warm-up sequence II -- The creative warm-up Control code Dimensions 24 cm Edition 2nd ed.

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3. ImageWork Training and the Chekhov Technique – Critical Stages/Scènes critiques.

Carousel Grid List Card. A brief survey of the trajectory of this synergy reveals the texture of this connection, the interplay between the two techniques and the way in which ImageWork Training can provide a comprehensive preparation for the effective application of the basic principles of the Chekhov Technique.

In , in no particular context that I remember, Peter introduced my class to the Psychological Gesture. For me, the concept was electrifying, and I was on the floor immediately, attempting to create a Psychological Gesture for Richard III. Peter taught us only one more element of the Chekhov Technique: Molding, Flowing, Flying and Radiating. He, then, asked us to hold hands in a circle and sing the song again.

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Although I have never seen the exercise done like this, it may have been the way Chekhov taught it in Stephen Joseph, the founder of the first professional theatre-in-the round in England—the Library Theatre, in Scarborough—was the most inspirational of my teachers at the Drama Department of Manchester University. The imagistic key was crystal clear: Peter Frye and Stephen Joseph each gave me one important tool in this journey toward the Chekhov Technique. Jacqueline Kronberg, with whom I studied and worked for two years in Jerusalem, provided me with a major stepping stone toward my re-embracing of the Chekhov Technique many years later, by giving me my first systematic form of training: In , she came to Jerusalem and founded the first professional improvisation company in Israel, at the Khan Theatre.

The two years we worked together gave me a solid grounding in improvisation technique and important insights into the creative mechanism of the actor. In , I decided to change course, leave my acting career and turn to directing. To pursue this, I enrolled in the Ph. This was expanded by my growing acquaintance with the world of image-based physical theatre through distant mentors such as Jerzy Grotowski, Richard Schechner and Joe Chaikin.

To this day, Barba is one of the most influential theatre practitioners of the twentieth and twenty-first centuries.



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His concept of Theatre Anthropology is a standard of performance research, meticulously set out in his monumental Dictionary of Theatre Anthropology: The Secret Art of the Performer. Eugenio came to Jerusalem in with the vision—and the visuals—of his work with the Odin Theatre.



They asked me if I had ever heard of Michael Chekhov. I answered that I had, but asked them, completely ingenuously, why they were asking. Their reply floored me: Following that wonderful encounter, Lisa invited me to teach at a huge Chekhov conference she helped organize at Emerson College the following summer, and from that moment on, my conception of the art of the actor and the way to train it, fell into an amazingly fecund context.

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I felt as if I had come home to where my understanding of the art of the theatre had been slowly maturing for thirty years. However, it proceeds directly from my own eclectic development as an actor, a director and a teacher, influenced by the work of brilliant theatre practitioners, such as Jerzy Grotowski, Eugenio Barba, Peter Brook, Joe Chaikin and Anne Bogart, among others.

In the following, I will try to point to the special relationship between the two techniques. ImageWork Training, on the other hand, leads up to character-work, but does not go into it per se. Below are few examples of the synergy between the two techniques. Describing an exercise involving the repetition of a simple action twenty or thirty times, Chekhov has this to say about the Creative Individuality:.

By doing this exercise you will develop your originality and ingenuity, and with them you will gradually awaken the courage of your individual approach to what you do on the stage.