The use of Body-Mind Centering^® to support training in Michael Chekhov’s acting technique

Abstract

This article discusses the confluence of Body-Mind Centering (BMC)^® practices with elements of Michael Chekhov’s technique as foundations for an integrated psychophysical approach to acting that does not build divisions between the actor’s body, psyche, and mind. For Chekhov, actors embody their characters from creative work, driven by embodied imagination and awareness of sensory perception. BMC^® proposes ‘embodiment’, which is seen as an awareness process, at the cellular level, which occurs through the participant’s experience itself, not through intellectual understanding. Linking sensory perception to imagination the author emphasizes the respect for the singularity in both approaches: for BMC^® any self-perception of the body is valued and for Chekhov, actor’s creative individuality must be respected. The author has investigated, in research-led workshops, experiences of the actor’s living anatomy from body systems and patterns as new grounds for Michael Chekhov’s acting technique. This work has explored a relationships between specific imaginary centres to correspondent organs and tissues of the body and particular movement qualities to specific body systems. The practice research revealed that BMC^® broadens the perception of internal physical aspects, as a mental state, which supports the development of the skills sought by Chekhov for what he called ‘inspired acting’. Furthermore, the systematization achieved in this research can be applied to sectors beyond the theatre, resonating with Fleming and Cornford et al.’s argument for a use of Chekhov Technique in applied, community and therapeutic contexts (2020).

Keywords:

• Body-Mind Centering^®
• Michael Chekhov’s acting technique
• body
• psyche
• expression

Disclosure statement

No potential conflict of interest.

Notes

1 It’s important to emphasize that different cultures can relate to centres differently, and we might not consider this approach a universal one, but just a tool with which actors can choose to work in building a character or situation.

2 The heart has the mediating function in this meeting of our earthly and heavenly natures. Through it, love and compassion—for ourselves, others, and for life itself—are felt and expressed. Most of us feel the pain of old wounds and brokenness surrounding this inner core, and the layers of defense we have created in order to protect ourselves from what we experience as the fear and the vulnerability of our soft and sensitive heart (Hartley 1994, 202–203).

Additional information

Notes on contributors

Luciana Paula Castilho Barone

Luciana Paula Castilho Barone is a Brazilian researcher, professor, actress, theater director and junguian therapist. She has a Bachelor in Performing Arts, a Master and a PhD by the Multimedia Department of the Arts (UNICAMP). She is a specialist in Jungian Psychology, a Somatic Movement Educator, a Professor for the Bachelor in Performing Arts and for the Postgraduate Program in Cinema and Video Arts (UNESPAR). She directed her own written plays Isadora, the dance of destiny and Ophelia in Off and performed in her own solos Deviation and Imminence. She took part in an observation internship with Robert Lepage (MET, NY, 2010).