Michael Chekhov and Sanford Meisner

Michael Chekhov and Sanford Meisner: Collisions and Convergence in Actor Training offers a comprehensive analysis of the Sanford Meisner Acting Technique in comparison to the Michael Chekhov Acting Technique.

Autorentext

Anjalee Deshpande Hutchinson is Professor and Chair of the Department of Theatre and Dance at Bucknell University in Lewisburg, Pennsylvania. She received her BA in Theatre from Kalamazoo College and her MFA in Directing from Northwestern University. In addition to directing, Anjalee's scholarship includes devised theatre and acting technique. Anjalee is certified in the Michael Chekhov Technique from the National Michael Chekhov Association, and the Sanford Meisner Technique from the True Acting Institute, and has also trained in Moment Work with the Tectonic Theatre Project.

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Introduction

Anjalee Deshpande Hutchinson

Part I: The Masters

1 The Meisner Approach: "Be simple and rediscover the world"- Dostoyevsky

Susan Coromel

2 The Relevance of The Meisner Technique in Today's Actor Training

Tom Prior

3 Michael Chekhov's Inspiration for Actors

Dawn Arnold

Part II: Expeditions in Deep Training

4. Meisner in the Undergraduate Setting

Greg Ramos

5 Teaching the Michael Chekhov Technique in an Undergraduate Program: The Problem and the Arrival

Mark Monday

6 Reality vs Pretend: How to Surmount Collisions In Search of Truth

Lisa Dalton

7 We Are Not Historians: A Manifesto for Teachers

Kimon Fioretos

Part III: Methods in Convergence

8 The Evolution of a Studio

Liz Shipman

9 How the Michael Chekhov Technique Influences and Supports the Elements of the Sanford Meisner Approach

Susan Coromel

10 Meisner in the Classroom, Chekhov in Rehearsal: Pairing Complementary Methods in Smaller Liberal Arts Programs

Anjalee Deshpande Hutchinson

11 Studio Work with Meisner as Foundation and Chekhov as Advanced Study

Robb Maus

12 Activating Meisner and Chekhov in the Secondary Acting Classroom

Eric Young

13 Sculpting the Energetic Action: Taking us "Beyond the Verb"

Alexis Black

14 Sensations in Place of Emotional Preparation for the Students that say "I Can't" and Mean it!

Kimon Fioretos

15 Re-discovering the Joy

Wil Kilroy

Part IV: Techniques In Practice

16 Warming up to Repetition and Adding Physicality with Chekhov's Psychological Gesture

James Savage

17 Listening and Responding with the Body: How Chekhov Technique Can Enhance Meisner's Repetition Exercise

David Haugen

18 Finding an Emotional Connection through PGs, POV's and the Ghost Exercise

James Savage

19 A Psychophysical Path to Moment-to-Moment: The Gift of a Lifetime: Chekhov's Repetition Exercises 12-13

Lisa Loving Dalton

20 Bringing Meisner and Chekhov Techniques into the Rehearsal Room, Sort of...

David Haugen

Part V: Continued Collisions and Strategies for The Future

21 Conclusion: The Case for Non-Erasure in Actor Training

Anjalee Deshpande Hutchinson