Michael Chekhov’s acting technique through the lens of a classical singer

Vera Hjördís Matsdóttir

Research questions: 1. In what ways is Michael Chekhov’s acting technique beneficial to classical singers portraying characters from operas in terms of the aspect of interpretation and acting, the aspect of mental preparation before a performance and the aspect of vocal projection? 2. Are there specific concepts of the technique that are especially relevant to classical singers and why? Summary of the results of the research: In terms of interpretation and acting, Michael Chekhov’s acting technique turned out to be very helpful to the singers. By exercising Chekhov’s concept, they acquired a sense of clarity to their character and a physical and psychological understanding. In terms of mental preparation, the singers felt like they gained tools in calming the mind, achieving a feeling of ease. And that in general, by moving the focus from the intellectual and to the body is a great antidote for nervousness. In terms of vocal projection, all the singers agreed that their vocal performance improved when they sang their aria the second time when they implemented Chekhov’s elements while performing the aria. There were differences of opinion among the singers as to which concepts of Chekhov’s were the most beneficial. Questionnaire and discussions though brought to light that the quality of radiation and the feeling of ease appealed particularly well to the singers. I believe that the reason for that is that these qualities create an ideal physical state to sing. The feeling of ease creates a sense of ground, openness, calmness and at the same time alertness. The quality of radiation gives off a strong feeling of confidence, power, and freedom. The act of singing requires physical strength but without creating excessive tension in the body. Healthy singing requires being both firm and soft, which is achieved with both concepts.

Chapters

1.0 Introduction and research questions

2.0 Michael Chekhov, his ideology and the repertoire of concepts

3.0 Chekhov's exercises

4.0 Chekhov in praxis

4.1 Michael Chekhov workshop for singers

4.2"Mini opera" in Iceland

5.0 Reflection on studying and implementing Michael Chekhov in my praxis

5.0 Conclusion

6.0 Bibliography

Introduction and research questions

I discovered my passion for singing at a very young age in a children’s choir in the local church. I have since then sung in various choirs. My background has shaped me into the musician that I am that places a strong emphasis on perceiving music in a comprehensive way. During the period of time singing in choirs under guidance of exceptional choir conductors and educators, I developed qualities such as a good sense for pitch and harmony and was trained to pay close attention to dynamics and nuances of tonality. The way I listen, learn, perform and sense music has everything to do with my musical upbringing that I still benefit from now as a solo performer. I have developed into a musician who enjoys taking on various projects, especially in collaborations. The pronunciation and delivery of the text is very important to me. It is my aim to be the kind of musician that does not only sing but imparts meaning. I wish that every time that I sing in private or in public, I will feel the courage to allow my mind, body, and voice to feel free to express. I constantly search for a way to make a strong connection to the subtext and content of the music in question. I have come to know that to perform with real meaning behind the tonality, I need to be well prepared, knowing the music and text by heart as well as having a deep understanding of the story and context in question. For a delivery of this degree, I need to feel calm, strong and courageous simultaneously. I need to build a ground of certainty and security that comes from intense preparation. Only then can I trust myself and therefore be free on stage. My biggest challenge has always been the acting aspect of a performance. It is my personal belief that singers are in fact actors, who must consider not only their voice, but their entire body as an instrument for portraying characters and delivering a story.

During my studies I have gotten to know different intriguing drama approaches through different acting courses, mostly based on Konstantin Stanislavski's system. It wasn't until I came across with Michael Chekhov's technique that I felt I had found my way. My first encounter with the technique was in an out of school acting class by a renowned actor in Iceland, Þorsteinn Bachmann. I felt from day one that Chekhov’s technique was especially applicable to me. By replacing the stress from my mind to my body through 'the psychological gesture' and the elements of molding, floating, flying and radiating, I felt I was overcoming many of my own obstacles such as insecurities and overthinking. My imagination had become more prolific than ever. For a person who considers herself as an overthinker, it felt gratifying to go back to primitive gestures and experience the feelings that follow naturally.

I see it as a great opportunity in exploring Chekhov with an even more depth than ever before by devoting my master research project to his technique. After making an instant connection to Chekhov’s technique by experiencing this strong sense of freedom, security and ease while performing, I pursued this project with the hope that it will bring me closer to being the artist that I aim to become. The purpose of the research is to explore the acting technique of Michael Chekhov through the lens of a classical singer in terms of different aspects of a performance and practice, such as interpretation, acting and vocal projection.

By first meticulously studying Chekhov's published works, as well as other publications by other Chekhov practitioners, performing an experiment in a workshop with 3 of my fellow singing students from Royal Conservatoire The Hague and through other experiences of Chekhov in praxis, I sought to answer the following questions:

1. In what ways is Michael Chekhov’s acting technique beneficial to classical singers portraying characters from operas in terms of the aspect of interpretation and acting, the aspect of mental preparation before a performance and the aspect of vocal projection?

2. Are there specific concepts of the technique that are especially relevant to classical singers and why?

Next: Michael Chekhov, his ideology and the repertoire of concepts

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Vera Hjördís Matsdóttir - Michael Chekhov’s acting technique through the lens of a classical singer - 2023