Chekhov Technique: 8 Dazzling Lessons for the Drama Classroom

Technique 5: The Four Qualities of Movement

The Concept

In the lexicon of Michael Chekhov’s acting technique, the Four Qualities of Movement—Molding, Flowing, Flying, and Radiating—are foundational elements for an actor’s physical expression and character development. Chekhov adapted these qualities to facilitate a distinct movement vocabulary, allowing actors to explore various emotional states, intentions, and atmospheres in a performative context. By internalising these qualities, an actor can impart a deeper sense of authenticity and complexity to their performance.

Key Principles

• Molding: Within the Chekhov technique, moulding is considered a form of resistance akin to moving through a denser medium. The quality is ideal for conveying experiences of physical, emotional, or psychological struggles.
• Flowing: This quality is characterised by continuity and seamlessness, echoing the natural rhythms of elements like water or wind. In Chekhov’s framework, flowing is used to represent emotional states that are smooth, uninterrupted, and gentle.
• Flying: Drawing upon the imagery of airiness and lift, flying embodies a sense of transcendence or elevation. Chekhov frequently employed this quality to express feelings of freedom, elation, or even spiritual awakening.
• Radiating: This quality focuses on expanding the actor’s energy outwardly, almost as if emanating from a central core. Chekhov found this particularly useful for characters who possess a commanding presence or must exhibit an all-encompassing emotional state.

Application in Practice

• Character Development: Actors are encouraged to experiment with these qualities during rehearsal to unearth new facets of their character’s personality and emotional landscape.
• Scene Work: When applied to specific scenes, the Four Qualities of Movement can help reveal the underlying emotional or atmospheric elements, enriching the performance.
• Transitions: Actors can use the qualities as transitional tools, moving from one emotional state to another smoothly and believably.
• Physicality and Spatial Awareness: A conscious use of these qualities necessitates a heightened awareness of one’s physicality and the space one occupies, thereby contributing to a fuller, more engaging performance.

Lesson 5: Four Qualities of Movement

Objective

To introduce students to Michael Chekhov’s Four Qualities of Movement Technique and its applications in acting.

Duration

50 minutes

Materials

• Whiteboard and markers
• Video clips demonstrating each of the Four Qualities of Movement in action
• Space for physical exercises
• Handouts summarising the Four Qualities of Movement and their applications

Activities

Introduction and Overview (10 minutes)

• Brief Introduction to Michael Chekhov (3 minutes)
  • Briefly outline Michael Chekhov’s contributions to acting theory and practice, focusing on his unique approach to movement and physicality.
• Open Discussion (7 minutes)
  • Ask students what they know or assume about the role of movement in acting.
  • Use the whiteboard to jot down ideas, which will later be compared to Chekhov’s Four Qualities of Movement.

Lecture and Presentation (15 minutes)

• The Concept of Four Qualities of Movement (5 minutes)
  • Discuss the four distinct qualities—Molding, Flowing, Flying, and Radiating—and their significance in Chekhov’s acting technique.
• Key Principles (8 minutes)
  • Delve deeper into the Four Qualities of Movement, using examples and possibly video clips to illustrate each concept.
• Application in Practice (2 minutes)
  • Briefly discuss how these qualities can be applied in various aspects of acting, from character development to scene work.

Physical Exercises and Demonstrations (20 minutes)

• Group Activity (20 minutes)
  • Divide the students into smaller groups and assign each group one of the Four Qualities of Movement.
  • Instruct each group to improvise a brief scene or sequence that embodies their assigned quality. Encourage the use of both verbal and non-verbal expression.
  • After each group has performed, discuss what was observed and how the quality was expressed in their movements.

Summary (5 minutes)

• Summarise the key points covered in the lesson.

Homework

For homework, ask students to find or write a short monologue that they believe could benefit from applying one or more of the Four Qualities of Movement. This will be used for in-depth exploration in the next lesson.

Technique 6: Centres of Energy

The Concept

Michael Chekhov’s technique of Centres of Energy builds upon the idea that an actor’s physical and emotional expressions emanate from specific energy centres within the body. By consciously focusing on these centres, actors can more authentically manifest a range of emotions and states of being, enhancing the believability and depth of their performance.

Key Principles

• Identification of Energy Centres: Chekhov identified various energy centres, such as the head, heart, and gut, each representing different aspects of the human experience. The head centre might be related to intellectual or calculated characters, the heart centre to emotional or empathetic characters, and the gut centre to instinctive or primitive characters.
• Alignment with Character Traits: The choice of centre is closely tied to the character’s fundamental nature, objectives, and emotional state. For instance, a character-driven by logic and reason would operate from the head centre, while one guided by emotion would utilize the heart centre.
• Dynamic Shifts: Chekhov also explored the idea that centres can shift within a performance, reflecting a character’s development or changing circumstances.
• Physicality and Presence: The use of energy centres also significantly affects an actor’s physical presence on stage, influencing posture, movement, and even vocal quality.
• Incorporation into Overall Technique: The concept of Centres of Energy is often integrated into other aspects of Chekhov’s acting technique, such as Psychological Gesture or Qualities of Movement, to create a more holistic approach to character and performance.

Application in Practice

• Initial Exploration: Actors begin by physically and mentally focusing on one energy centre at a time, noting how each centre influences their emotional state and physicality.
• Character Analysis: Through script analysis, actors identify which energy centre(s) align most closely with their character’s traits and motivations.
• Practical Exercises: In rehearsal, actors practice scenes while consciously activating the chosen centre, observing how it affects their performance and making adjustments as necessary.
• Performance Application: In performance, the actor employs the identified centre(s) as a continual point of focus, anchoring their emotional and physical expression to create a more layered, nuanced portrayal.
• Post-Performance Review: After performance or rehearsal, it is beneficial to review how effectively the centre was employed and how it could be better integrated into future performances.

Lesson 6: Centres of Energy

Objective

To introduce students to Michael Chekhov’s concept of Centres of Energy and how it can be employed to deepen characterisation and emotional expression in performance.

Duration

50 minutes

Materials

• Whiteboard and markers
• Handouts on the Centres of Energy technique
• Laptop and projector for video examples
• List of monologues or short scenes for practical exercises

Activities

Introduction and Contextualisation (10 minutes)

• Brief Introduction to Michael Chekhov and Centres of Energy (3 minutes)
  • Concisely introduce Michael Chekhov and the significance of the Centres of Energy technique within his overall approach to acting.
• Quick Poll and Discussion (2 minutes)
  • Ask students to quickly name an actor or character they believe embodies a strong sense of centred energy. Discuss briefly.
• Overview of Today’s Lesson (5 minutes)
  • Provide an overview of the lesson’s objectives and what students should expect to learn about the Centres of Energy technique.

Lecture and Presentation (15 minutes)

• Key Tenets of Centres of Energy (7 minutes)
  • Utilise a PowerPoint presentation to explain the fundamental tenets of Chekhov’s Centres of Energy, such as identification and dynamic shifts.
• Video Examples (5 minutes)
  • Show brief video clips of performances that effectively utilise the Centres of Energy technique. Discuss these examples.
• Integrating with Other Chekhov Techniques (3 minutes)
  • Briefly discuss how Centres of Energy can be combined with other Chekhov techniques like Psychological Gesture or Qualities of Movement for a more comprehensive approach.

Practical Exercises (20 minutes)

• Individual Exploration (5 minutes)
  • Students individually focus on different energy centres (head, heart, gut) and observe the changes in their emotional and physical state.
• Paired Exercise (10 minutes)
  • In pairs, students perform short scenes or monologues focusing on a chosen centre. They then provide constructive feedback to each other.
• Group Discussion (5 minutes)
  • Reconvene as a class and discuss the experiences. What worked? What was challenging?

Wrap-Up and Homework Assignment (5 minutes)

• Summary of Lesson and Next Steps (3 minutes)
  • Summarise the key points of the lesson and provide an overview of the next lesson, which will build on the concepts introduced.
• Homework Assignment (2 minutes)
  • Assign students the task of choosing a monologue that they believe will benefit from the application of the Centres of Energy technique. They should be prepared to perform this in the next lesson.

Technique 7: Archetypes

The Concept

Archetypes in acting refer to universal, symbolic characters or themes that recur across different cultures and time periods. The concept originates from the works of Carl Jung and has been adapted for use in theatre and performance studies. In acting, archetypes serve as foundational templates or blueprints for understanding and portraying characters in a way that is immediately recognisable and resonant for the audience. They enable the actor to tap into a collective unconscious, thereby enriching the depth and complexity of a performance.

Key Principles

1. Universality: Archetypes are universal symbols that are present across various forms of storytelling, transcending cultural and temporal boundaries.
2. Simplicity and Complexity: While archetypes may initially seem simplistic, such as ‘The Hero’ or ‘The Villain,’ they provide a framework for exploring complex emotions, motives, and actions.
3. Customisability: Archetypes are not rigid templates but can be adapted and nuanced to suit the specific needs and contexts of a performance. They serve as a starting point for character development.
4. Collective Unconscious: The concept of archetypes is closely tied to Carl Jung’s theory of the collective unconscious, which posits that these symbols are deeply embedded in the human psyche.
5. Immediate Resonance: Due to their universal nature, archetypes allow for immediate emotional and cognitive engagement from the audience.

Application in Practice

1. Character Analysis: Start by analysing the character in the script to identify which archetype they most closely resemble. This provides a foundational understanding upon which to build a more nuanced performance.
2. Physicality and Voice: Use the archetype as a guide to inform the physicality and vocal quality of the character. For example, ‘The Mother’ archetype might employ warm, nurturing tones and open body language.
3. Layering: While beginning with an archetype, continue to layer on specific traits, histories, and objectives that are unique to the character in the script. This avoids a stereotypical portrayal.
4. Rehearsal Exploration: Use rehearsals to experiment with embodying the archetype in different ways, taking note of what resonates most strongly with your interpretation of the character.
5. Audience Feedback: Use previews or early performances to gauge how effectively the archetypal elements are resonating with the audience, and adjust as necessary.

Lesson 7: Archetypes

Objective

To introduce students to the concept of archetypes in acting and explore how these universal templates can enrich characterisation and performance.

Duration

50 minutes

Materials

• Projector for PowerPoint presentations or video clips
• Whiteboard and markers
• Handouts outlining key principles of archetypes in acting
• List of common archetypes found in theatre
• Script excerpts featuring characters that embody specific archetypes

Activities

Introduction and Group Discussion (10 minutes)

• Brief Outline of Archetypes (3 minutes)
  • Begin with a concise introduction to archetypes, touching on their origin in Carl Jung’s theories and their application in acting.
• Ice-breaker Activity (2 minutes)
  • Ask students to name a character from a film, play, or novel who they think is an archetype and to explain why.
• Initiate Group Discussion (5 minutes)
  • Discuss initial thoughts on archetypes, asking questions like, “How do archetypes contribute to storytelling?” or “Can you think of a performance that effectively used archetypes?”

Lecture and Presentation (20 minutes)

• Introductory Remarks (3 minutes)
  • Inform students that the focus of the lesson will be to delve into the key principles and practical applications of archetypes in acting.
• Core Principles of Archetypes in Acting (12 minutes)
  • Use a PowerPoint presentation to elaborate on key principles such as Universality, Simplicity and Complexity, Customisability, Collective Unconscious, and Immediate Resonance.
• List of Common Archetypes (5 minutes)
  • Display a list of common archetypes found in theatre, such as ‘The Hero,’ ‘The Mother,’ ‘The Trickster,’ etc. Discuss their characteristics briefly.

Archetype Examples

1. The Hero: A character on a quest, often overcoming obstacles and embodying courage.
2. The Mentor: Wise and knowledgeable, guiding the hero or other characters.
3. The Mother: Maternal, nurturing, and supportive.
4. The Father: Authoritative, protective, and often stern.
5. The Child: Innocent, naive, or symbolising potential.
6. The Rebel: Nonconformist, challenging the status quo.
7. The Sage: Wise, often old, seeking enlightenment.
8. The Villain: Antagonistic, with harmful intentions towards others.
9. The Trickster: Mischievous, challenging norms and creating disorder for fun or enlightenment.
10. The Seducer: Manipulative, using charm or allure to get what they want.
11. The Explorer: Adventurous, seeking new experiences or truths.
12. The Creator: Artistic, visionary, making something new or unique.
13. The Innocent: Pure, desiring happiness and simplicity.
14. The Ruler: Commanding, seeking control or organisation.
15. The Orphan/Everyman: Average, relatable, often seeking to belong.
16. The Jester: Humorous, desiring joy and laughter, often at the expense of others.
17. The Magician: Wise and mysterious, often possessing special knowledge or abilities.
18. The Outcast: Alienated, outside of society, either voluntarily or involuntarily.
19. The Lover: Passionate, seeking relationship or connection.
20. The Caregiver: Altruistic, desires to protect and nurture others.
21. The Survivor: Resourceful and pragmatic, often overcoming significant obstacles.
22. The Dreamer: Idealistic, impractical, often lost in thought or imagination.
23. The Warrior: Brave, skilled in battle, perhaps aggressive or valorous.
24. The Judge: Discerning, analytical, seeking justice or truth.
25. The Healer: Compassionate, with the ability or desire to make others whole.
26. The Gambler: Risk-taking, often leaving things to chance, for better or worse.
27. The Detective: Investigative, seeking truth at any cost.
28. The Martyr: Self-sacrificing for the greater good, often to their detriment.
29. The Artist: Creative, uniquely seeing the world, often misunderstood.
30. The Prophet: Visionary, often spiritual or ethical, predicting or helping to bring about significant change.

Practical Exercise (15 minutes)

• Script Excerpt Analysis (5 minutes)
  • Distribute script excerpts featuring characters that embody specific archetypes. Ask students to identify the archetypes and explain their choices.
• Pair Work: Embodying Archetypes (10 minutes)
  • Pair students and give them 10 minutes to rehearse short scenes, focusing on embodying the archetypes they’ve identified. Encourage them to use voice, body language, and other aspects of performance to bring the archetypes to life.

Debrief (5 minutes)

• Collective Discussion (5 minutes)
  • Have students share their experiences and observations from the practical exercise. Discuss what worked and what was challenging in using archetypes as a foundation for character development.

Technique 8: The Creative Individual

The Concept

The notion of the “Creative Individual” gains enhanced specificity when examined through the lens of Michael Chekhov’s acting technique. While Chekhov offers a comprehensive set of tools like Psychological Gesture, Atmosphere, and Imaginary Body, among others, he strongly encourages the actor to engage these tools creatively, informed by their own artistic impulse. In this framework, the actor is not merely an implementer of techniques but a creative individual who synthesises various elements to produce a unique, compelling performance.

Key Principles

1. Personal Lexicon within Chekhov’s Framework: Chekhov’s techniques are designed to be modular, and the actor is encouraged to develop a personal vocabulary based on elements like Psychological Gesture, Centres of Energy, and Qualities of Movement.
2. Holistic Approach: Similar to Chekhov’s emphasis on the whole actor—mind, body, and spirit—the Creative Individual utilises not only technical skills but also emotional, intellectual, and instinctual faculties in developing a character.
3. Adaptability and Flexibility: A core tenet in Chekhov’s teaching is adaptability, which dovetails with the Creative Individual’s need to be responsive and adaptable to the demands of different roles and scenes.
4. Self-Awareness and Intuition: Chekhov places significant emphasis on inner life and imaginative faculties. This resonates with the Creative Individual’s principle of self-awareness and intuition in crafting a performance.
5. The Actor as Co-Creator: Just as Chekhov sees the actor as a co-creator in the storytelling process, the Creative Individual concept also stresses the actor’s role as an active participant, rather than a passive implementer of directions.

Application in Practice

1. Technique Exploration: Actors should delve into Chekhov’s array of techniques as a starting point, understanding their underpinning philosophies and practical applications.
2. Character Deep Dive: As Chekhov encourages a vivid imagination in perceiving a character’s life, the Creative Individual should apply these analytical skills in a comprehensive evaluation of the role.
3. Method Fusion: Here, the actor fuses the Chekhov techniques with other acting methods and personal insights during rehearsals to find what best encapsulates the character.
4. Reflective Practice: Post-rehearsal, engage in self-reflection to evaluate the effectiveness and authenticity of the applied techniques, in line with Chekhov’s principles of self-assessment.
5. Feedback Incorporation: While Chekhov emphasises personal creativity, he also valued the critiques from the director and peers. Similarly, the Creative Individual should seek and incorporate external perspectives for a rounded performance.
6. Performance and Audience Reception: After the performance, examine its impact, assessing how well the fusion of Chekhov’s methods and personal creativity resonated with the audience.
7. Continuous Evolution: Chekhov’s method is not static but continually evolving, aligning with the Creative Individual’s emphasis on lifelong learning and adaptation.

Lesson 8: The Creative Individual

Objective

To introduce students to the concept of the Creative Individual within the context of Michael Chekhov’s acting techniques and to explore its practical applications.

Duration

50 minutes

Materials

• Projector for PowerPoint presentations
• Whiteboard and markers
• Handouts outlining the key principles of the Creative Individual in Chekhov’s Technique
• List of notable actors who have been influenced by Chekhov’s methods
• Clips of performances that exemplify Chekhov’s techniques

Activities

Introduction and Group Discussion (15 minutes)

• Brief Overview of the Creative Individual and Chekhov (3 minutes)
  • Begin by briefly introducing the concept of the Creative Individual and how it interlinks with Michael Chekhov’s acting techniques.
• Ice-Breaker Activity (2 minutes)
  • Ask students to describe a role they played where they felt they were truly a “Creative Individual”.
• Initiate Group Discussion (10 minutes)
  • Engage the class with questions such as:
    • “How can an actor maintain their individuality while also adopting various techniques?”
    • “What aspects of Chekhov’s techniques allow for creative freedom?”
  • Use the whiteboard to jot down students’ ideas for later discussion.

Lecture and Presentation (20 minutes)

• Introductory Remarks (3 minutes)
  • Transition into discussing the key principles that define the Creative Individual within Chekhov’s technique.
• Core Principles (12 minutes)
  • Use a PowerPoint presentation to explain the key principles such as Personal Lexicon within Chekhov’s Framework, Holistic Approach, and Adaptability.
• List of Actors Influenced by Chekhov (5 minutes)
  • Conclude by showing a list of notable actors who exemplify the concept of the Creative Individual in Chekhov’s techniques.

Video Analysis and Workshop (15 minutes)

• Video Selection and Viewing (5 minutes)
  • Introduce and play a clip of a performance that exemplifies the integration of Chekhov’s techniques with the actor’s creative individuality.
• Analytical Discussion (10 minutes)
  • Invite students to discuss:
    • “How did the actor embody the concept of the Creative Individual while using Chekhov’s techniques?”
    • “What choices made the performance unique?”
  • Use the whiteboard to categorize the observations.

Homework

Ask students to choose a short script or monologue where they can apply both Chekhov’s techniques and their own creative instincts. Students should come prepared to perform and discuss their choices in the next lesson.