Throughout this article, the author examines how Michael Chekov, influenced by Rudolph Steiners's exploration of a pscyhophysical approach to acting. It is discussed how the imagination of actors can be utilised in creating and developing characters through the direct effect imagining has to the physiology of the body. Chekov explored the relationship between actors sense of self and the creation and development of character using aspects of Buddhist insights and Chekov's approach to the psychophysical creatino of character. As well as Buddhist insights the author also uses research from nueroscience to support Chekovs theories.
T Barbers 1984 conducted an experiment to explore how imagining effects the blood supply in the body.
'If...Thought, images and feelings can produce variations in blood supply, it is likely that the blood flow to other parts of the body is continually affected by what people are thinking, imagining and excperiencing, by being deeply absobred in imagining a physiological change, some individuals can evoke the same thoughts and feelings that are present when an actual physiological change occurs, hense stimulating the cells to produce the desired physiological change (Ardena et al 200; 377)
This supports Chekovs theory of acting from within in order to createv physiological changes of the character.
It is highlighted throughout the literature that Chekovs training, performances and theories are largely based around imagining and this scientific connectino between body and mind,
'It is a known fact that the human body and pscholgyo influence eachother and are in constant interplay,, the actor must strive for the asttainment ofn complete harmony between the two'
Chekov 2002:1
Chekov's recorded set of masterclasses are also briefly discussed.
'All our physical exercises will be considered and done as psychophysical exercises... Eveything like the development of our imagination or using of the pscyological aspects, all such means make physical exercises to pschyphysical
Chekov 196 tape 1
Chekov believes that in order for the actor to free the mind of habitual emotions and actions, the actor must be fully aware of their bodies and capabilities and use imagination to visualise the charaxcter in order to remove oneself.
The author proceeds to discuss the potential results of this awareness from his personal experiences and the results of Chekov's experiements within his teaching practices.From research gathered the author states 'By developing this awareness and understanding and understanding of ones own physicaslity, actors can begin to explore the way in which physicality can be developed and altered with the help of imaginatino.
This analogy supports Chekovs imaginary body ecxercises dicusdsded within his audio visual tapes.
The excercises are basic. Actors are required to imagine alterign a specific body pasrt and utilise the embodied image and sensationds felt to create a new physicality for the actor. For example 'Longer Arms' Chekov states by imagining actually possessing longer arms the actors physiology will change making the arms asppear longern due to altered physicalitly. Thje acot ris then required addn other elemtents sucvh as speech andf movement whilst remembering the feeling of obtainibng longer arms. This relates to T Barbers 1984 experiement in which he proved imagination has the power to change physiology.
Chekov also used images to help visualise a character in his imagination. In one particular instance Chekov sketched a character in his imagination. The sketched image bares strking resembelance to how Chekov looked whilst playing the character on stage.
As a performer I use this approach regularly when creating character, however lacked the knowledge of theory and practitioner behind this approach.
