Abstract
For the Russian actor, director and teacher Michael Chekhov (1891–1955), the essence of artistry in acting, as in any discipline, was transformation. He wrote extensively about ‘the hallmark of talent and the divine spark within the actor’ — the ‘ability to transform oneself totally’ — and explored this transformation in unusual depth in his teaching.1 Chekhov was an Anthroposophist, a follower of the teachings of the spiritual philosopher Rudolf Steiner, and his association of artistry with divinity was not merely a turn of phrase, but a reflection of that belief system. Steiner posited intimate connections between the human and the divine, or between ‘the sense-perceptible world’ and ‘the spiritual realm,’2 and he taught a process of ‘clairvoyant perception’ by which he claimed that his followers would be able ‘to perceive the world we enter after death’ and thereby see beyond physical appearances and ‘move from the figure we perceive to the actual being.’3 For Steiner, however, ‘clairvoyance’ was not only spiritual but artistic: he defined the artist by the capacity to ‘create in beauty a piece of the world, so that the image on canvas or in marble lets us see more of the world than we do on our own.’4
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Notes
Michael Chekhov, The Path of the Actor, ed. Andrei Kirillov and Bella Merlin (Abingdon: Routledge, 2005), 183.
Michael Chekhov, Lessons for the Professional Actor, ed. Deirdre Hurst du Prey (New York: Performing Arts Journal Publications, 1985), 141.
The Chekhov Theatre Studio was housed at Dartington Hall in Devon from 1936 until 1938 and then, until 1942, in Ridgefield, Connecticut. See Franc Chamberlain, Michael Chekhov (Abingdon: Routledge, 2004), 26–31.
Charles Leonard, ed., Michael Chekhov’s To the Director and Playwright (New York: Harper and Row, 1963), 31.
Michael Chekhov, ‘Chekhov’s Academy of Arts Questionnaire,’ TDR: The Drama Review 27, no. 3 (1983): 25.
Michael Chekhov, To the Actor (Abingdon: Routledge, 2002), 3.
Michael Chekhov, On the Technique of Acting, ed. Mel Gordon (New York: Harper Collins, 1991), 2, 5.
Quoted in Alma H. Law, ‘Chekhov’s Russian Hamlet (1924),’ TDR: The Drama Review 27, no. 3 (1983): 38.
Andrei Malaev-Babel, Yevgeny Vakhtangov: A Critical Portrait (Abingdon: Routledge, 2013), 188–9.
Quoted in Simon Callow, Charles Laughton: A Difficult Actor (London: Methuen, 1988), 42.
Quoted in Laurence Senelick, ‘Embodying Emptiness: The Irreality of Mikhail Chekhov’s Khlestakov,’ New Theatre Quarterly 25, no. 3 (2009): 229.
Harold Clurman, The Fervent Years: The Group Theatre and the Thirties (New York: Da Capo Press, 1983), 158.
Quoted in Sharon Carnicke, Stanislavsky in Focus: An Acting Master for the Twenty-First Century, 2nd edn (Abingdon: Routledge, 2009), 220.
Yogi Ramacharaka, Hatha Yoga or The Yogi Philosophy of Physical Well-Being (Chicago: Yogi Publication Society, 1904), 151.
Jean Benedetti, Stanislavsky: His Life and Art (London: Methuen, 1988), 191.
Konstantin Stanislavsky, An Actor’s Work: A Student’s Diary, trans. Jean Benedetti (Abingdon: Routledge, 2008), 212.
Andrei Malaev-Babel, ed., The Vakhtangov Sourcebook (Abingdon: Routledge, 2011), 100.
For more information, see Mark Evans, Movement Training for the Modern Actor (Abingdon: Routledge, 2009), 20–3, 27–9.
Irwin Spector, Rhythm and Life: The Work of Emile Jaques-Dalcroze (Stuyvesant, NY: Pendragon Press, 1990), 57.
Ted Shawn, Every Little Movement: A Book about François Delsarte (Pittsfield, MA: Eagle Printing and Binding, 1954), 92, 93.
Rudolf Steiner, Knowledge of the Higher Worlds: How is it Achieved? (Forest Row: Rudolf Steiner Press, 2004), 46.
Rudolf Steiner, At the Gates of Spiritual Science (London: Rudolf Steiner Press, 1970), 134.
Rudolf Steiner, Speech and Drama: Lectures Given in the Section for the Arts of Speech and Music, School for Spiritual Science, Goetheanum, Dornach, Switzerland, September 1924 (London: Rudolf Steiner Press, 1960), 52, 53.
Michael Chekhov, Lessons for Teachers of his Acting Technique, ed. Deirdre Hurst du Prey (Ottawa: Dovehouse Editions, 2000), 71.
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© 2014 Tom Cornford
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Cornford, T. (2014). Michael Chekhov: The Spiritual Realm and the Invisible Body. In: Luckhurst, M., Morin, E. (eds) Theatre and Ghosts. Palgrave Macmillan, London. https://doi.org/10.1057/9781137345073_11
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DOI: https://doi.org/10.1057/9781137345073_11
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