Michael Chekhov

[laughs] I'm always a little cautious when any acting teacher suggests that their particular technique is the only way to act.

There are wonderful approaches to acting: Stanislavski, Meisner, Adler, Strasberg, Practical Aesthetics, Michael Chekhov, and combinations and variations of all of them.

You can learn something valuable from many of those approaches, but eventually the technique has to serve the actor.

The actor does not have to serve the technique.

... eating, and what their psyche is.

And then you've got Michael Chekhov going, "I'm never gonna be somebody that's gonna gouge out somebody's eyes and kill people, but, you know, I have to play this part, so there's gotta be another way in."

Mm.

And so then he comes up with physical gesture.

"Oh, I'm gonna do Stanislav- I'm gonna teach Stanislavski to, to people." Um, and I think it was all kind of mixed and, and maybe because I think drama school training in England is like you're training the voice, you're training in movement.

Um, you might do a term on Stanislavski, then you might do a term on Michael Chekhov.

You know, it's like-

Mm

Exactly.

She had works by Michael Chekhov, Molière, George Bernard Shaw, and Eugene O'Neill's heavy family drama, Long Day's Journey into Night.

Incredible text for an actor.

actor.But what really strikes a chord with me are her ultimate unfulfilled ambitions.