Michael Chekhov International ConferenceWorkshops – Lectures – Speeches – Research

(„Goblet“ from M:Chekhov’s „Paris Manuscript“ and „Kaunas-Lessons“)

Lisa Dalton and Wil Kilroy will share a pathway to experiencing the self as the Goblet, in processes for crossing the threshold, centering in the ideal, receiving images, crafting personal Psychological gestures and ensemble harmonious groupings using Japanese Rock Garden Form and archetypal forces of Good and Evil (Virtues and Vices-Lucifer/Ahriman).

Lisa Dalton and Wil Kilroy build upon the Goblet as a Creative Process and step the ensemble through applications based on Chapter 8 of To The Actor, To the Director, Acting the MIchael Chekhov Way and their upcoming book, SynthAnalysis, founded in the multidimensional process of identifying the Spirit/Thinking of the story expressed in Psychological Gesture, the Score of Atmospheres as the Soul/Feeling, and the through line of good and evil events/the Will, expressed in a flow of Harmonious Groupings. (Joerg, if there were a common text to use for the Conference like Inspector General, we would use that.)

As an actor you can only really inspire your audience in the truest sense of the word if you open and keep up access to the spiritual sources during the play. The workshop will use specific exercises to present a possible approach to these sources through the spiritual breath in its various phases. Topics will be: The beat out of nothing, the sweet point, dealing with fear and courage as a creative tool, the movement of the inner and outer being, rhythm, dynamics and PG and the observation of the resonance

Around 60 min. with following exchange

There are not many places in the world where you can discover 200 years of world history within a 150 meter long walk. We take a short trip to the River Spree and see the relicts of great world power fantasies and their destructive but also peaceful transformation - the army bakery, the destroyed bridge in the Spree, the East Side Gallery - formerly called the antifascist protection wall and now, the New Economy.

My idea here is that as we are facing the ever increasing materialization of storytelling, we are also presented with the beautiful growth of the MC work globally. However, it is mostly centered in teaching a series of tools to actors. Chekhov very specifically declined moving his own acting career forward (in Europe especially) because he only wanted to work in ensemble. He believed every actor need to be able to write, design, direct and produce the stories being told. With an ensemble of artists who understand all of these creative processes, the entire technique can be fully developed. The Feeling of the Whole will be greatest when the whole creative team employs the higher sensibilities Chekhov invites us to embrace. Is this a worthy pursuit towards the theatre of the future? How can we create more training/opportunities etc. for building multi-skilled ensembles?

Free movement for acting, contemporary dance, and ensemble improvisation.
Through body awareness, a conscious relationship to space, and connection to the soul, we explore our presence in space and discover the meaning of movement. New and unexpected movements will emerge, guiding you into a deep experience of connection.

The workshop explores the differences between live performance, film, and AI-generated performance, engaging participants in a hands-on exploration of the latest creative possibilities and limitations of AI in music, writing, animation, film, photography, visual and performing arts. Designed as a collaborative experiment, the workshop investigates how the Michael Chekhov technique can create a fundamental difference in the audience's perception of AI-generated performances compared to digitally filmed performances by live actors. The workshop is led by film director and screenwriter Sofia Geweiler.

In this practical workshop we will explore how the focus on sensory awareness in the Feldenkrais Method can deepen and support the work with imagination and embodiment in the Chekhov Technique. Through mindful movement and increased body awareness, we will refine the actors' instrument and make it more receptive to inner gestures, atmosphere and creative impulses.

The lecture will use practical examples and exercises to describe the relationship between the four stages of Rudolf Steiner's pencil exercise and the four phases of the artistic process from Michael Chekhov's Paris Manuscript, which can contribute to the clarity of the creative process.

Around 90 min. with following exchange