Abstract
Abstract Although none of his works has been translated into Turkish, with his technique of acting, Michael Chekhov, has been the subject of many researches and influenced many theatre groups worldwide. With his writings and works, he showed that his technique is more than a criticism of his teacher Stanislavski's method, which can be seen as the basis of actor training, and improved his technique for decades. More over, by focusing on directly to the art of acting and considering it with the other elements of theater but also giving it a space where it is a totally different kind of art, he has been one of the pioneers of post-Stansilavskien theories with Vsevolod Meyerhold. The main features of this technique of acting which is still the subject of many researches are to be introduced with a critical perspective and the contribution and the possible hidden contributions of the technique to the contemporary acting arguments will be tried to be stated.
References
- GORDON, Mel; The Stanislavski Technique: Russia, Applause Theatre Book Publishers, New York, 1987.
- GORDON, Mel; “Michael Chekhov‟s Life and Work: A Descriptive Chronology”, The Drama Review: TDR, Vol. 27, No. 3, Michael Chekhov, (Autumn, 1983), MIT Press.
- LACAN, Jacques; ‘Four Fundemantal Concepts of Psychoanalysis’, London : Hogarth Press, 1977.
- SULLIVA, John; „Stanislavski and Freud‟, The Tulane Drama Review, Vol. 9, No. 1, (Autumn, 1964).
- PITCHES, Jonathan; “Towards a Platonic paradigm of performer training”, Contemporary Theatre Review, 17:1, 2007.
- PITCHES, Jonathan; „Is It All Going Soft?‟ The Turning Point in Russian Actor Training, Cambridge University Press, 2005.
- MEERZON, Yana; “Body and Space Michael Chekhov‟s notion of atmosphere as the means of creating space in theatre Semiotica” 155–1/4 (2005).
- RUST, Colin Michael; Bodily Awareness, The Theater Writings of Michael Chekhov and Tadashi Suzuki, yayımlanmamış yüksek lisans tezi, Graduate College of Bowling Green State University, 2007.
- CHEKHOV, Michael; On The Technique of Acting, HarperColins Publishers, New York, 1991.
- ROKEM, Freddie; „Acting and Psychoanalysis‟, Theatre Journal, Vol. 39, No. 2, (May, 1987), The John Hopkins Univesity Press, s. 175-184
Abstract
References
- GORDON, Mel; The Stanislavski Technique: Russia, Applause Theatre Book Publishers, New York, 1987.
- GORDON, Mel; “Michael Chekhov‟s Life and Work: A Descriptive Chronology”, The Drama Review: TDR, Vol. 27, No. 3, Michael Chekhov, (Autumn, 1983), MIT Press.
- LACAN, Jacques; ‘Four Fundemantal Concepts of Psychoanalysis’, London : Hogarth Press, 1977.
- SULLIVA, John; „Stanislavski and Freud‟, The Tulane Drama Review, Vol. 9, No. 1, (Autumn, 1964).
- PITCHES, Jonathan; “Towards a Platonic paradigm of performer training”, Contemporary Theatre Review, 17:1, 2007.
- PITCHES, Jonathan; „Is It All Going Soft?‟ The Turning Point in Russian Actor Training, Cambridge University Press, 2005.
- MEERZON, Yana; “Body and Space Michael Chekhov‟s notion of atmosphere as the means of creating space in theatre Semiotica” 155–1/4 (2005).
- RUST, Colin Michael; Bodily Awareness, The Theater Writings of Michael Chekhov and Tadashi Suzuki, yayımlanmamış yüksek lisans tezi, Graduate College of Bowling Green State University, 2007.
- CHEKHOV, Michael; On The Technique of Acting, HarperColins Publishers, New York, 1991.
- ROKEM, Freddie; „Acting and Psychoanalysis‟, Theatre Journal, Vol. 39, No. 2, (May, 1987), The John Hopkins Univesity Press, s. 175-184
Details
| Primary Language | Turkish |
|---|---|
| Journal Section | Makaleler |
| Authors | |
| Publication Date | February 13, 2012 |
| Published in Issue | Year 2008 Issue: 13 |