Chekhov/Gorky
Curriculum Outline
WEEK ONE - The Russian Revolution. Introduction to Chekhov, Gorky, Stanislavsky, 19th Century Russian theater and acting styles that prevailed before Stanislavsky. Introduction to Andre Serban and Serban’s Approach to Chekhov. In-class reading of Chekhov one-act plays The Bear and The Proposal.
WEEK TWO - What’s The Story? Stanislavsky’s concept of Given Circumstances. In-class reading of Act 1 of The Seagull and Act 1 of The Lower Depths. Assign roles and scenes for presentation. Home assignment: journal entries of Given Circumstances for assigned roles and scenes, review Serban’s Approach to Chekhov.
WEEK THREE - How Do We Tell It? Stanislavsky’s concepts of Action and Objectives. In-class reading of Act 2 of The Seagull and Act 2 of The Lower Depths. In-class rehearsals of scenes, scripts in hand, applying Given Circumstances, Action and Objectives to assigned scenes. Home assignment: journal entries of Action and Objectives for scenes and reading of Uta Hagen’s “First Contact with the Play.”
WEEK FOUR - Artistry. Stanislavsky’s concepts of Imagination and Concentration of Attention. In-class reading of Act 3 of The Seagull and Act 3 of The Lower Depths. In-class rehearsals of scenes applying concepts of Imagination and Concentration of Attention. Presentation of scenes. Home assignment: journal entries of Imagination and Concentration of Attention.
WEEK FIVE - Break It Down. Stanislavsky’s concepts of Bits and Tasks. Introduction to the Group Theater, Uta Hagen and her concept of Rehearsal. In-class reading of Act 4 of The Seagull and Act 4 of The Lower Depths. In-class rehearsals of scenes applying concepts of Bits and Tasks and Rehearsal. Final presentation of scenes. Home assignment: journal entries of Bits and Tasks and reading of Uta Hagen’s “Practical Problems.”
WEEK SIX - Make Believe. Stanislavsky’s concepts of Magic If and Adaption. In-class reading of Act 1 of Ivanov and Act 1 of The Summer People. Assign new roles and scenes from Ivanov and The Summer People. Home assignment: journal entries of Given Circumstances, Action and Objectives for new scenes.
WEEK SEVEN - Be Here Now. Introduction to Sanford Meisner and his concepts of Repetition and Improvisation. In-class reading of Act 2 of Ivanov and Act 2 of The Summer People. In-class rehearsals of scenes, scripts in hand, applying concepts of Magic If, Adaption, Repetition and Improvisation. Home assignment: journal entries of Imagination, Concentration of Attention and Bits and Tasks.
WEEK EIGHT - Use Yourself. Uta Hagen’s concepts of Substitution and Object Exercises. In-class reading of Act 3 of Ivanov and Act 3 of The Summer People. In-class rehearsals of scenes, applying Substitution and Object Exercises. Presentation of scenes. Home assignment: journal entries of Repetition and Improvisation and Substitution.
WEEK NINE - Who Am I? Stanislavsky’s concepts of The Actor and the Role and Meisner’s concept of Making the Part Your Own. In-class reading of Act 4 of Ivanov and Act 4 of The Summer People. In-class rehearsals of scenes, applying principles from The Actor and the Role and Making the Part Your Own. Presentation of final scenes from Ivanov and The Summer People. Home reading assignment: Meisner’s “Some thoughts on Actor’s and on Acting.”
WEEK TEN - The Play Is The Thing. Simulated rehearsal and table work. Collective class reading of Act 1 of Chekhov’s play Platonov with journals to model process of text analysis done at start of rehearsal for a new play. Concepts from Nikos Psacharopoulos and Peter Brook on Playing Chekhov. Discussion of questions of interpretation, thematic emphasis, form and aesthetics facing actors working on Chekhov/Gorky today.