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List of figures | ||
Acknowledgements | ||
1 | Biography and Context | 1 |
Childhood | 1 | |
Chekhov at the Maly | 3 | |
The Moscow Art Theatre | 5 | |
Chekhov at the second MAT | 18 | |
The path of the actor | 19 | |
Exile | 20 | |
Wandering 1928-35 | 21 | |
The studios | 26 | |
The Hollywood years | 31 | |
2 | Writings on the Technique of Acting | 35 |
Imagination and concentration | 37 | |
The higher ego | 48 | |
Objective atmosphere and individual feelings | 52 | |
The actor's body | 61 | |
The psychological gesture | 73 | |
Incorporation and characterisation | 77 | |
3 | Choosing the focus | 81 |
The Possessed (1939) | 83 | |
Twelfth Night (1940) | 83 | |
Pickwick | 105 | |
Some thoughts on the rehearsal process | 110 | |
4 | Practical Exercises | 113 |
Crossing the threshold | 116 | |
Making contact | 117 | |
Confidence | 118 | |
Concentration | 120 | |
Significance | 121 | |
The four brothers | 121 | |
Atmosphere | 127 | |
Actions and qualities | 129 | |
Archetypal gestures | 133 | |
Imagination | 136 | |
Centres | 137 | |
Archetypes | 138 | |
Imaginary bodies | 139 | |
Objectives and the psychological gesture | 140 | |
Ensemble and group sculptures | 142 | |
Rehearsal | 143 | |
Bibliography | 145 | |
Index | 149 |
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