This might not be the best place to ask this but I’m not sure if Lisa’s channel being active… but could you ask her something? Mala Powers in one of the workshops spoke about people struggling with the center device because they try to create it, rather than experience it as something already existing and themselves sort of relaxing into it. I was hoping if Lisa could, if she had any personal experience of Mala or Anthony Quinn perhaps, speaking more on the technique of center. I do not understand the practical standpoint of this “impulse” business that happens, that we need to imagine beforehand. I feel it’s a very neglected part of the technique and I feel it’s either because people do not understand it enough to teach it, or they haven’t explored it enough. I feel maybe the method as frequently explored may not be the same application of the center as someone like Mala Powers would have used. I do wish she could maybe have more to say about it
Thanks Jeff! This was so much fun to do. I am looking forward to part 2 and to the one on Beatrice Straight and her Oscar winning performance-still the shortest time on screen of all Oscar history.
This was superb! Started teaching Chekhov again at Florida Southern College two sections of Acting 2. Used your IAC exercise, so thanks for sharing it!!
Hey Jeff. What works for me as an actor is focusing on a movable center. The three questions we ask: Where is it?, What is it? and Does it contain movement?. For the last question, Does it contain movement? I have a handful of answers to that question. Can you perhaps give me a few more movements that Chekhovian actors can use. Movement is the point on the chart that I focus on as it really ignites the whole Chekhov chart for me and really gets me in the moment and lights up my artistic internal life.
Hi Gershome. So, I am a bit unclear about exactly what you're asking, but I'll try my best. Chekhov gives us four qualities of movement (molding, flying, floating, and radiating). These form the basis for much of our thinking about how we (as well as our characters and moveable centers) move through space. After we have arrived at one of the four qualities, we can then become more specific by adding tempo-rhythm. To be clear, I believe chekhov (who was quite knowledgable with regards to music) didn't conflate this concept and regarded tempo and rhythm as distinct yet connected. So, for example, we may think of our moveable center as a floating ball in our chest. Then we ask how fast or slow this floating movement may be and whether it moves in a staccato or legato rhythm or even in a repeatable or random combination of staccato and legato. It can even be in a state of stillness. We can also ask the directionality of the center. Is it rising, falling, balancing? Does it drive forward? Does it recede? When? with whom? And so on. Using these in combination, there is an infinite number of choices an actor can make regarding the combination of imagery, quality of movement, tempo-rhythm, and directionality. Does this answer your question?
@@TheInspiredActor Thanks Jeff for the response. For the question, "Does it contain movement?" The movements I have include: fixed, shaking, shooting, wiggling and sideways. So what you saying is that if a movement does not come to me I should break the question down into different parts. I should look for the quality, then tempo and rhythm, and finally the directionality. So I should look for a combination of all of these if I'm not sure about the movement the character has. It usually comes to me, but if not I will definitely look into these aspects you mentioned. Yes it does help a lot, didn't exactly give me the list of movements I wanted. I thought there can be a list like there is for the AGs, but it gives me certain questions to ask. Thanks a lot Jeff. Really appreciate the help. You are my online acting coach. Keep well and speak soon.
@@gershomewilliams2845 Glad I was helpful. How you are breaking it up for yourself sounds interesting and if it leads you to a creative place, then follow where it leads. To clarify, there is no fixed order to the exploration (for example, it's no sin to start with directionality), but all these questions will lead to the types of movement you are describing (Shaking= Quick Staccato Up/Down Radiating(?)). Also, it may be helpful to consider the resisting force on the movement (internal/external). It may also lead to some imagery you can use for your character.
@@TheInspiredActor Thanks a lot, I really appreciate the feedback. Yes I will definitely have a look at those questions if no movement comes to me. It was really helpful. Speak soon
I just really feel like I'm on to something. That feeling you get before a breakthrough. That's what I'm feeling. Just breaking down the character and getting to the reason of existence and core of the character using the Chekhov tools is really exciting. Just really getting down to what the character feels in his bones and finding that inspiration inside. We have to get down the core of the character. You know what Stella Adler said "Growth as an actor and as a human being is synonymous".
Briefly, because our body-mind is a fully-connected holistic entity, by focusing psychologically on the physical spaces within our body that house our will force. We are able to use the energy that is created by these spaces to act on film with a feeling of ease while being fully committed to our objective. The camera catches the energy we are producing through our imagination without "over-doing it" and acting beyond the filmic style. Hope that helps.
@@Nick-w4t Thanks so much. I've been trying to start a theatre which has consumed much of my time, but once I'm able to come up for air, I will definitely put out some new content.
Check out part 2 at: ruclips.net/video/ho1Hr1sK0xk/видео.html
Been waiting for your video 💫
Sorry it took so long....
So great to see you sharing these techniques so interesting...
Thank you so much for watching!
Thank you Jeff and Lisa for the analysis.
Thanks, Gershome!
This might not be the best place to ask this but I’m not sure if Lisa’s channel being active… but could you ask her something? Mala Powers in one of the workshops spoke about people struggling with the center device because they try to create it, rather than experience it as something already existing and themselves sort of relaxing into it. I was hoping if Lisa could, if she had any personal experience of Mala or Anthony Quinn perhaps, speaking more on the technique of center. I do not understand the practical standpoint of this “impulse” business that happens, that we need to imagine beforehand. I feel it’s a very neglected part of the technique and I feel it’s either because people do not understand it enough to teach it, or they haven’t explored it enough. I feel maybe the method as frequently explored may not be the same application of the center as someone like Mala Powers would have used. I do wish she could maybe have more to say about it
Very nice example. I use it all the time.... it's fun. Acting really is fun playing with these things. It's so refreshing to hear the technique again.
Please post more videos..it's been 2 month we are waiting for videos from your side. You were doing great job. Appreciation from my side
I know! I'm in process of starting a theatre company which is taking up a lot of my time. Will post when I can come up for some air!
BTW, Thanks so much for your support! I will return.
Thanks Jeff! This was so much fun to do. I am looking forward to part 2 and to the one on Beatrice Straight and her Oscar winning performance-still the shortest time on screen of all Oscar history.
Thanks Lisa
This was superb! Started teaching Chekhov again at Florida Southern College two sections of Acting 2. Used your IAC exercise, so thanks for sharing it!!
It was such a fun time with Lisa. We got several videos out of it!
It was such a fun time with Lisa. We got several videos out of it!
Hey Jeff. What works for me as an actor is focusing on a movable center. The three questions we ask: Where is it?, What is it? and Does it contain movement?. For the last question, Does it contain movement? I have a handful of answers to that question. Can you perhaps give me a few more movements that Chekhovian actors can use. Movement is the point on the chart that I focus on as it really ignites the whole Chekhov chart for me and really gets me in the moment and lights up my artistic internal life.
Hi Gershome. So, I am a bit unclear about exactly what you're asking, but I'll try my best. Chekhov gives us four qualities of movement (molding, flying, floating, and radiating). These form the basis for much of our thinking about how we (as well as our characters and moveable centers) move through space. After we have arrived at one of the four qualities, we can then become more specific by adding tempo-rhythm. To be clear, I believe chekhov (who was quite knowledgable with regards to music) didn't conflate this concept and regarded tempo and rhythm as distinct yet connected. So, for example, we may think of our moveable center as a floating ball in our chest. Then we ask how fast or slow this floating movement may be and whether it moves in a staccato or legato rhythm or even in a repeatable or random combination of staccato and legato. It can even be in a state of stillness. We can also ask the directionality of the center. Is it rising, falling, balancing? Does it drive forward? Does it recede? When? with whom? And so on. Using these in combination, there is an infinite number of choices an actor can make regarding the combination of imagery, quality of movement, tempo-rhythm, and directionality. Does this answer your question?
@@TheInspiredActor Thanks Jeff for the response. For the question, "Does it contain movement?" The movements I have include: fixed, shaking, shooting, wiggling and sideways. So what you saying is that if a movement does not come to me I should break the question down into different parts. I should look for the quality, then tempo and rhythm, and finally the directionality. So I should look for a combination of all of these if I'm not sure about the movement the character has. It usually comes to me, but if not I will definitely look into these aspects you mentioned. Yes it does help a lot, didn't exactly give me the list of movements I wanted. I thought there can be a list like there is for the AGs, but it gives me certain questions to ask. Thanks a lot Jeff. Really appreciate the help. You are my online acting coach. Keep well and speak soon.
@@gershomewilliams2845 Glad I was helpful. How you are breaking it up for yourself sounds interesting and if it leads you to a creative place, then follow where it leads. To clarify, there is no fixed order to the exploration (for example, it's no sin to start with directionality), but all these questions will lead to the types of movement you are describing (Shaking= Quick Staccato Up/Down Radiating(?)). Also, it may be helpful to consider the resisting force on the movement (internal/external). It may also lead to some imagery you can use for your character.
@@TheInspiredActor Thanks a lot, I really appreciate the feedback. Yes I will definitely have a look at those questions if no movement comes to me. It was really helpful. Speak soon
I just really feel like I'm on to something. That feeling you get before a breakthrough. That's what I'm feeling. Just breaking down the character and getting to the reason of existence and core of the character using the Chekhov tools is really exciting. Just really getting down to what the character feels in his bones and finding that inspiration inside. We have to get down the core of the character. You know what Stella Adler said "Growth as an actor and as a human being is synonymous".
What will be the center of Chekhov sir's character? 🧐🧐
Can you please explain the trick which Lisa talked about ?
Can you please give me a timestamp for when in the video she mentions this? It's been awhile.
@@TheInspiredActor 19:14
Briefly, because our body-mind is a fully-connected holistic entity, by focusing psychologically on the physical spaces within our body that house our will force. We are able to use the energy that is created by these spaces to act on film with a feeling of ease while being fully committed to our objective. The camera catches the energy we are producing through our imagination without "over-doing it" and acting beyond the filmic style. Hope that helps.
@@TheInspiredActor Thanks , I've watched all of your previous videos on Michael chekov technique . please keep making these videos , it really helps.
@@Nick-w4t Thanks so much. I've been trying to start a theatre which has consumed much of my time, but once I'm able to come up for air, I will definitely put out some new content.