{"id":794,"date":"2021-04-19T23:17:21","date_gmt":"2021-04-19T22:17:21","guid":{"rendered":"https:\/\/roannamitchell.com\/?page_id=794"},"modified":"2023-09-29T10:35:04","modified_gmt":"2023-09-29T09:35:04","slug":"acting-dance-with-chekhov","status":"publish","type":"page","link":"https:\/\/roannamitchell.com\/?page_id=794","title":{"rendered":"Acting & Dance with Chekhov"},"content":{"rendered":"

Michael Chekhov\u2019s technique in Dance<\/strong><\/h3>\n
This page gathers together various aspects of Roanna Mitchell\u2019s research exploring Michael Chekhov\u2019s technique in the context of dance, movement, and dance-theatre crossovers. This work is inspired by, and building on, the work of a number of scholars and practitioners in the field, who are referred to in associated publications and\/or mentioned on this page.<\/h6>\n
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New in 2021:\u00a0In Conversation with Suzanne Bennett on Chekhov for Dance<\/strong><\/h5>\n

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New in 2021: In Conversation with Anna Katharina Andrees on Chekhov, Movement, Dance and Circus<\/strong><\/h5>\n

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New in 2021: Grace Wranosky on Chekhov Technique in Inclusive Dance Practice<\/strong><\/h5>\n

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Research background: Chekhov and me<\/strong><\/h3>\n
Early beginnings<\/strong><\/h5>\n
Applications of Chekhov\u2019s technique for more \u2018traditional\u2019 acting approaches in work with playtext and character are well-known. Over the past two decades the field of exploration and investigation among scholars and practitioners has broadened significantly, examining the use of Chekhov technique in other aspects of performance, arts and community practice.<\/h6>\n

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Cass Fleming and Tom Cornford\u2019s (2020) research project and volume Michael Chekhov Technique in the twenty-first century: New Pathways<\/a><\/em> gives excellent examples of these experiments, and I was very lucky to be part of this project in two key roles:<\/h6>\n
Firstly, I participated as performer and assistant director in a wonderful three years of bi-weekly studio exploration for Cass Fleming\u2019s research strand on \u2018Chekhov Technique for Devised Theatre and Catalyst Direction\u2019 (2013-16). Using Saint-Exup\u00e9ry\u2019s Little Prince<\/a> <\/em>and a rich range of unpublished archival materials from Chekhov\u2019s time at Dartington Hall, we explored uses of the technique in devising, for ensemble-forming and play, and approaches to directing (see Fleming 2020, pp29-63).<\/h6>\n\n\t\t