{"id":237,"date":"2017-04-23T20:57:47","date_gmt":"2017-04-23T20:57:47","guid":{"rendered":"https:\/\/www.critical-stages.org\/15\/?p=237"},"modified":"2023-06-03T08:01:46","modified_gmt":"2023-06-03T08:01:46","slug":"musical-synthesis-of-the-michael-chekhov-technique-integrated-training-for-the-singer-actor","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/15\/musical-synthesis-of-the-michael-chekhov-technique-integrated-training-for-the-singer-actor\/","title":{"rendered":"Musical Synthesis of the Michael Chekhov Technique: Integrated Training for the Singer \u2013 Actor"},"content":{"rendered":"

James Haffner<\/strong>*<\/a><\/p>\n

Introduction<\/strong><\/p>\n

Training opera singers to be singing actors has often been regarded as a difficult task. Psychological realism does not effectively serve the genre; traditional techniques do not adapt well consistently to the unique demands placed on opera performers. Such practices usually result in a separation of music and acting, creating performances that are untruthful, forced and potentially harmful to the artist.<\/p>\n

There is also the obstacle of operatic tradition: \u201cthis is the way the role is performed\u201d; \u201crules,\u201d such as \u201cdo not move as it is distracting\u201d; \u201cmovement interferes with proper vocal technique\u201d are additional arguments. Moreover, singers often receive little to no formal instruction other than perhaps observing a director\u2019s demonstration.<\/p>\n

The Michael Chekhov approach to theatre training, however, requires no adaptation in its application to music-theatre. The tenets of the technique can be expressed fully in musical form, which facilitates a more integrated and richer performance approach. By focusing on a vocabulary rooted in music, the Michael Chekhov technique is invaluable in the training of young opera singers. These musical expressions can be written and\/or drawn directly into the musical score.<\/p>\n

Actors working within the spoken theatre generally learn text as a solo endeavor; in opera, the process of learning text (and music) typically occurs separately in collaboration with a coach. This extra step in the rehearsal process can integrate what the singer is doing in the studio with a coach by making preliminary character choices. Physicalizing these choices already in the (initial) music phase of a rehearsal period will allow music and movement to be integrated at a much earlier phase in the overall rehearsal process. Invariably this will make the transition from music rehearsals to the staging rehearsals much easier. The following is a basic chart for application of the technique to musical performance\/expression:<\/p>\n

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Music Chart<\/figcaption><\/figure>\n

Ideal Center<\/strong><\/p>\n

Young singers tend to regard the throat as the source for impulse for their work as opposed to what Michael Chekhov describes as Ideal Center. The result is the \u201csinging-head\u201d effect, where the performance is concentrated from the neck up creating a disconnect with the singer\u2019s body. Another common trap is that the singer will attempt gestures (albeit \u201chabitual\u201d gesturing) resulting in acting from the shoulders and\/or elbows. This inevitably leads to a high level of tension potentially (and usually) inhibiting the vocal technique. By engaging a physical approach to the character, singers will reconnect the voice to the rest of the body, limiting physical (and vocal) tension and expressing full presence of character. In a training scenario, this aspect of the technique must be addressed first. Chekhov describes Ideal Center:<\/p>\n

Think of your imaginary center as a source of inner activity and power within your body. . . . Let the sensation of strength, harmony and well-being penetrate the whole body. Let the power which flows from the imaginary center within your chest and leads you through space precede the movement itself; that is, first send out the impulse for the movement, and the, an instant later, do the movement itself. After the movement is accomplished, do not cut short the stream of power generated from the center, but let it flow and radiate for a while beyond the boundaries of your body and into the space around you. Like a musician who can play only on a well-tuned instrument, so you will have the feeling that your \u2018ideal\u2019 body enables you to make the greatest possible us of it, to give it all kinds of characteristic features demanded by the part you are working upon. (2002: 7)<\/p><\/blockquote>\n

These three steps\u2014sending out an impulse, executing the movement and allowing the movement to resonate (radiate) from the body\u2014are described as the artistic frame. The artistic frame is the blueprint for all movement. Lenard Petit defines this more succinctly as conscious movement (46). He states that \u201cwe do not use it in performance because it takes too much attention, and our expression will appear stilted\u201d (46). In the world of opera, however, the artistic frame brings new life to a performance acting as a physical (harmonic) expression of the music and text. In many cases, the composer has left clues in the music for the singer-actor to discover something of the character\u2019s physical life. For example, Mozart is clear in his musical portrayal of Leporello in the opening scene of Don Giovanni<\/em>.<\/p>\n

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Don Giovanni<\/em> (Mozart)\u2014January, 2010. Stockton Opera Association (Stockton, CA). James Haffner, Stage Director. Peter Jaffe, Conductor, Nicolai Janitzky, Don Giovanni,
Michael Gallup, Il Commendatore. Photographer: Monica Johnson-Swope<\/figcaption><\/figure>\n
VIDEO 1<\/h6>\n