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.
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.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
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.
Inhaltsangabe
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
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
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