Michael Chekhov's Imagination of the Creative Word and the question of its integration into his future theatre

Abstract

Michael Chekhov (1891–1955) endeavoured to include Rudolf Steiner's (1861–1925) Creative Speech, also known as speech formation, into his Technique, by devising preliminary exercises that could lead the actor to an experience of the Creative Word. The question of how to incorporate the Creative Word more fully into the Technique is the purpose of this paper. Addressing the issue of how to access invisible worlds to come to an imagination of what Steiner refers to as the ‘substance’ of speech, the article suggests that it is useful to develop and exercise a philosophical attitude that will assist practitioners in contemplating and working with Steiner's esoteric ideas in order to extend Chekhov's theatre indications towards his ideal of an integrated future theatre.

Keywords:

• Michael Chekhov
• Rudolf Steiner
• Creative Word
• integrated technique
• imagination
• invisible gesture

Notes

^1. I would like to thank Neil Anderson for commenting and making suggestions on this work.

^2. Eurythmy is speech made visible through movement. For a full explanation see Steiner (1984).

^3. For discussions on Chekhov and Steiner's relationship and the impact that the Austrian philosopher had on Chekhov's life personally and as an artist, there are two excellent books that I refer: Chamberlain's Michael Chekhov (2004) and Ashperger's The Rhythm of Space and the Sound of Time (2008).

^4. It is noteworthy that Steiner gave his indications for speech and drama in 1924, impressively presenting 19 lectures over 19 days, to professional actors and other non-theatre people.

^5. Jerri Daboo (2007, pp. 268–269) presents a discussion on the higher self of Anthroposophy in the article ‘Michael Chekhov and the Embodied Imagination: Higher Self and Non-Self’.

^6. See Soto-Morettini's (2010) discussion on Cartesian thinking Chapter 5, ‘Where Am I’.

^7. See Rudolf Steiner, Knowledge of Higher Worlds: How is it achieved? Rudolf Steiner Press, London, 1969.

^8. Cf. Willett (1964, no. s, p. 24), Section 9, ‘Last Stage: Oedipus’. Willett's translation of Brecht reads: ‘The theatre's future is philosophical’”.

^9. For further discussion on Steiner's levels of cognition see Ashperger (2008, pp. 36–37).

^10. I note and accept the interchangeable use of the words unconscious and subconscious for this discussion.

^11. Dawn Langman is currently writing a series of books based on her experience of directing an integrated training.

^12. It was only after Glenny's death, that I discovered Chekhov was Glenny's teacher.

^13. For information about Mechthild Harkness and the Harkness Studio see: http://www.mechthildharkness.net

^14. It was around this time that Steiner's speech and drama impulse developed into different streams and in some schools there was a focus on Creative Speech.

^15. I propose further research working with backspace as a three dimensional cognitive process would greatly extend our understanding of creative speech. Ashperger (2008, pp. 175–176) refers to back space.