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Informationen zum Autor Cass Fleming is a lecturer in the department of Theatre and Performance at Goldsmiths, University of London, and theatre director with twenty-five years of experience in the field of embodied and devised theatre-making. She specializes in training actors, directors, devised theatre-makers and applied theatre artists, in the use of play and the related devising methodologies drawing on the practices developed by Michael Chekhov, Suzanne Bing and Joan Littlewood and has taught at various drama schools, Universities and the National Theatre Studio. Her current research explores the genealogies of hidden contributions to twentieth-century actor training and theatre-making by collaborative artists and teachers. Tom Cornford is a senior lecturer in Theatre and Performance at The Royal Central School of Speech and Drama. His practice-led research is focused on developing histories of the creative processes of theatre-making and adapting them to contemporary contexts. Klappentext The culmination of an innovative practice research project, Michael Chekhov in the Twenty-First Century: New Pathways draws on historical writings and archival materials to investigate how Chekhov's technique can be used across the disciplines of contemporary performance and applied practice.In contrast to the narrow, actor training-only analysis that dominated 20th-century explorations of the technique, authors Cass Fleming and Tom Cornford, along with contributors Caoimhe McAvinchey, Roanna Mitchell, Daron Oram and Sinéad Rushe, focus on devising, directing and collective creation, dramaturgy and collaborative playwriting, scenography, voice, movement and dance, as well as socially engaged and therapeutic practices, all of which are at the forefront of international theatre-making.The book collectively offers a thorough and fascinating investigation into new uses of Michael Chekhov's technique, providing practical strategies and principles alongside theoretical discussion. Zusammenfassung The culmination of an innovative practice research project, Michael Chekhov in the Twenty-First Century: New Pathways draws on historical writings and archival materials to investigate how Chekhov’s technique can be used across the disciplines of contemporary performance and applied practice. In contrast to the narrow, actor training-only analysis that dominated 20th-century explorations of the technique, authors Cass Fleming and Tom Cornford, along with contributors Caoimhe McAvinchey, Roanna Mitchell, Daron Oram and Sinéad Rushe, focus on devising, directing and collective creation, dramaturgy and collaborative playwriting, scenography, voice, movement and dance, as well as socially engaged and therapeutic practices, all of which are at the forefront of international theatre-making. The book collectively offers a thorough and fascinating investigation into new uses of Michael Chekhov’s technique, providing practical strategies and principles alongside theoretical discussion. Inhaltsverzeichnis Acknowledgements Contributing authors Introduction Chekhov Technique: Past, Present and Future, Cass Fleming Section One Chekhov Technique: Processes of Theatre Making Chapter 1 ‘Theatre of the Future’: Chekhov Technique for Devised Theatre and Catalyst Direction, Cass Fleming Chapter 2 Actor-Dramaturgs and Atmospheric Dramaturgies: Chekhov Technique in Processes of Collaborative Playwriting, Tom Cornford Section Two Chekhov Technique: Beyond Acting Chapter 3 The Expressive Voice in Performance: Chekhov Technique for Voice and Singing, Daron Oram Chapter 4 ‘The moment you are not inwardly moving and inwardly participating, you are dead’ – Chekhov Technique in Actor-Movement and Dance, Roanna Mitchell Chapter 5 Feeling Space, Making Space: Michael Chekhov...
