(Renowned director of the Michael Chekhov International Academy (MCIA), Joerg Andrees, has recently arrived in Nepal with the revolutionary Chekhov Acting Technique. Here in Nepal, Andrees and his team are conducting engaging workshops for various theatre professionals across the country. Andrees, who is also a stage and film director, performer, and the founder of MCIA, is globally regarded as one of the foremost exponents of the Michael Chekhov Method. He has been leading transformative classes back in Berlin at his academy, sharing his experiences, knowledge, and developments gained over 30 years of work with the Michael Chekhov Technique. Below is an excerpt from the conversation between director Joerg Andrees and Tanka Chaulagain:)
After visiting several theaters, watching dramas, and meeting with theater professionals, what are your impressions of Nepalese theater culture and its contemporary landscape?
Well, I truly had the opportunity to witness several temporary theater performances, albeit limited in scope. Overall I was impressed by the actors’ work. They did it in their form as they have developed their skills. And I could recognize their professional state. This is good. One that I felt lacking was the atmosphere in the performance, created by the actor. While recorded music was used to set the mood, I felt that the actors could have done more to engage the audience emotionally. The focus seemed to be primarily on delivering the plot, and I longed for a deeper connection with the characters’ emotions. While the performances were realistic and well-executed, I missed the artistic expression and the ability of the actors to truly connect with the audience on an emotional level. In my opinion, this aspect could further enhance the overall impact of Nepalese theater.
Why did Michael Chekhov invent his own theory?
Michael Chekhov was one of the most important actors of the Moscow Art Theatre of his time. Learning from Stanislavsky he explored very early that there exists the alternative ways for the central questions like; How can one create the feelings and emotions for the character? How can one create a character on the stage? What defines the creative actor and how do they operate? After experiencing a personal crisis and developing his first acting school, he began to develop his own technique. A significant influence on this lifelong endeavor was his collaboration with Andrej Bely on Rudolf Steiner’s Eurythmy and Speech Formation. He came to the contra-dictionary understanding of Stanislavsky’s method.
Actor must differentiate between their personal life and the life of the character portrayed on stage. Personal memories and emotions should not be incorporated into the creation of the character.
What are Michael Chekhov’s Main tools?
Imagination and Concentration, Atmosphere and Psychological Gesture are the main tools of Mr. Chekhov.
How is Archetypal Gesture connected with the Artistic performance?
The archetypal gesture is part of the psycho-physical training. The well trained actor has of course better abilities for his artistic work, for the artistic performance, for the work with the creative tools of the technique.
Can you elaborate Artistic Body and physical body?
The physical body is a living body. The psycho-physical training (!) of the actor expands the life forces of his living body and develops in their field the the artistic body, the “summery” of the through the training new developed abilities of his body.
How can actor understand psycho physical gesture/action and psychological gesture?
There is a psycho-physical training (!) which leads to the development of the artistic body: to become more flexible and open for the imagination and inspirations of the actor.
Psychological Gesture is a specific tool for the characterisation, for the artistic character itself.
The psycho-physical training prepares the actor to become able to work with the tool of the Psychological Gesture.
How much is creative space important for Actors?
This every actor has to decide for himself. The threshold as a tool for the creating of the field of the creative work (“creative space”) of the actor, helps the actor to distinguish himself for the creative work from the daily life existence.
Can you can tell us about Back space memory?
The work with the backspace is an outcome of the artistic imagination. Imagination is a stepping into the invisible world, transcending mere physical perceptions of life and the world. To imagination, a clear observation is a beginning step. Progressing from observation (perception) to memory marks an initial stride in cultivating the power of concentration, which forms the foundation for imagination. Developing a free relationship with memories and imaginations is fundamental for their free artistic utilization. In this context, backspace becomes relevant – for this work in freedom.
What is the soul of Michael Chekhov Technique?
Every individual possesses a soul, a concept not confined to the specifics of the Michael Chekhov technique.
Those who delve into understanding the forces of the soul may discover the essence of all will impulses, followed by thoughts, and ultimately, what we commonly associate with the understanding of the soul – feelings and emotions. These three forces of the inner life of human beings are acknowledged and unified by the “I” or “Ego”.
Furthermore, adults may become cognizant of another central aspect of themselves – the so-called “Higher Self”. Chekhov often refers to this secondary entity as the “Creative Ego” or “Creative Artist”, which engages with the “Ego” of the developed artist.
Another perspective to consider is the notion that the atmosphere embodies the soul of the performance.
What are you receiving and giving to Nepal?
To experience a bit of the life here in Nepal, seeing the wonderful inner light of the children – even in the purest parts of the city – I take a refreshed believe with me into the future of the human being. In these children there is a light of future!
I also take with me the pain of the the helpless situation in which our modern culture imposes on people. Everywhere I go, I can see a “one world”: the world of illusions, manipulation and lack of awareness, which I, too, am a part of.
Yet, amidst these challenges, I am filled with hope for the transformative power of art. The actors and participants of the workshops I have conducted here display a keen interest in using the art of acting as a means to cultivate a Human Culture. It is my fervent hope that they will continue on this path, contributing to the development of a more enlightened and compassionate society.
Why did Michael Chekhov use Earth, Air, Water, fire natural aspects in his Technique?
Michael Chekhov do not work with “natural aspects”. Rather, he focuses on the power of imaginations. The four elements he explores are fundamental qualities which contribute to the creation of our world. They embody a highly spiritual imaginations of all the life processes in our world. The “natural elements” are just the physical representatives of this imagination. Because his acting technique works with and taps into these life processes artistically it may be understandable to work with these imaginations to open the door into this powers. An aspect of these imaginations is their specific relationship to the movement (imagine: life – movement). Chekhov brought that in with the four kinds of movement, which then lead to further aspects of the creative artistic work.
