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Full Description
In the early 1930s, during his first years of exile and 20 years before the publication of his seminal work To the Actor, Michael Chekhov made his first incursion into the challenging task of writing about an actor's experience and his vision of the craft.
This important, though largely forgotten, work (the so-called 'Paris Manuscript') was handwritten in German and in it we find Chekhov laying the groundwork for the canon of exercises and practices that, nearly a century later, has widely become known as the Michael Chekhov Technique. Although never completed, the manuscript affords a privileged fly-on-the-wall glimpse of the dawning of an artistic genius's creative vision.
This manuscript was the result of Chekhov's rich collaboration with Swiss theatre director, painter and illustrator Georgette Boner, and the text itself is supplemented with facsimile scans of manuscript pages, photographs, correspondence and other material from Boner's personal archive.
As the popularity of the Michael Chekhov Technique continues to spread globally, the 'Paris Manuscript' offers a timely invitation for actors to take a step back and (re)discover for themselves the structural foundations of Michael Chekhov's vision.
Chekhov's text has been translated, edited and abridged by Hugo Moss, co-founder and director of Michael Chekhov Brasil, who has written an introduction and a series of short essays, 'Reflections From the Studio', which build on a few key elements emerging from the manuscript and over a decade of exploring Chekhov's artistic legacy in the studio environment and in performance.
Contents
List of Illustrations
Preface
Acknowledgements
Introduction
Editing and Abridging Chekhov's Text
Translating Chekhov's German
Seelisch, geistig
Gestalt
Weltanschauung & Weltempfindung
A Memo to the Reader
THE 'PARIS MANUSCRIPT'
Attention
Movement
Imagination
Speech
Seelisch Atmospheres
Rhythm
Artistic Individuality
Weltanschauung
Theatre Now and in the Future
Character & Destiny
Gestalt
A Path - First Stage
A Path - Second Stage
A Path - Third Stage
A Path - Fourth Stage
Afterword
REFLECTIONS FROM THE STUDIO
La petite bergère
The First Condition
A Gift Received
More Concrete Than a Memory, More Organized Than a Dream
Goethe's Method for Observing Natural Phenomena
Seelische Geste
A Play Going on in my Head
Course Made Good
Thinking Feeling Willing
A Meditation
From The Metamorphosis of Artists
APPENDIX
Georgette Boner
Michael Chekhov Brasil
The Four Manuscripts
Further Study
NOTES
Bibliography
Index
