2.1 My view now on the Chekhov-Method, compared with my view 2 years ago.
My research deals with the topic of how the Chekhov acting-method is suitable for work in jazz music context. For this I have designed a comprehensive questionnaire that resulted from the three different studies. It is based on the three techniques modified by Chekhov for jazz: gesture, atmosphere, and imaginary tool, which focus on three levels:emotional level, cognitive level and bodily level. Based on this second questionnaire, I answer the questions from my point of view as an actor two years ago and now as a singer with all the experience of the research. I am confronted with all topics again and wonder what they have brought and what not and where there are other opportunities for research. On the following list, you can see differences between my experience in the acting world and in the jazz world. I refer also to some good examples and results for the different techniques, and outcomes of my research. (more detailed) I found out that the focus of the method is shifting depending on the genre. For example in singing, sound is more in the foreground and not so important for the actors. The the phrasing and attitude stand also much more in the foreground for an actor as for a singer.
| Question | Two years ago (from an actors prospective) | Now (25.03.2020) | Results | action/further research | Good examples from my research |
| 2. Describing words of the Method | -focussing -awareness | -focusing -authentic artist | new realization | Difference between actors and musicians ? | |
| Effect on my singing | |||||
| 3. Gesture | Strongly agree | Agree | You can not really grab the method 100% compared to a technique like Estill. | -MRT proofing of the throat ? -Deeper research on proprioceptive awareness in context with the method –go more in detail how we get the beste results | Sebastian O.: Workshop 2 without gesture 01:15:33 1.physical g. 01:22:50. 2.physical g. 01:25:03 3.psychological g. 01:27:50 |
| 4. Atmosphere | Neutral | Agree | same as gesture | -Composition of tunes, finding a form | Forrest Walk video 03:00 |
| 5. Imaginary/tool Center | Strongly agree | Strongly agree | very good tool for jazz, the tool can influence the genre. | Develop exercises, learn more tools | Duo Andrew free impro 2.1 |
| 6. Impact on my uniqueness | Disagree | Strongly agree | New realization. It was not clear for me in the acting context. I found out that the technique has a big impact on so many different levels of the singer/musician. Here so can see this more clear. | -Same input from the questionnaire ? – Research comparing musicians and actors, what the technic can deliver differently. | Monbijou Brige |
| 7. useful tool for improvisation | Strongly agree | – Agree | For Improvisation over chords or free improvisation good tool finding ideas. Important a clear build up and form | – working with a form/structure/arrangements. There are also ideas from Chekhov witch I didn’t follow -compare free, with written improvisation | Duo-sessions |
| 8. the others positive effect | |||||
| self-consciousnesses | Agree | Strongly agree | |||
| sound | Neutral | Strongly agree | Very important what get’s clearly better with the technique Sound is more obvious in the world of music | Narim: Workshop 2 without 55:10:00 with the method: 02:02:06 | |
| Deeper emotion | Agree | Strongly agree | You find more to yourself, important for an music-artist | Leonie Workshop 5 deep emotion (soft vibrato) 8:30 | |
| Ideas/imagination | Strongly agree | Strongly agree | Many new ideas came across. especially in the atmosphere and imaginary tool | Duo Benjamin 3.1. 26:30 3.2. iron 3:10 | |
| Message | Strongly agree | Strongly agree | |||
| Phrasing | Strongly agree | Agree | Not that strong as in the acting world, because the music has a strong metric. But for some important words you can sharp the sound with a gesture | Work with this technic with students | |
| Body-awareness | Neutral | Strongly agree | Though my work on Reise! I felt how that I have a more conscious connection to my body. More than in my work as an actor | My Work on Reise! | |
| Concentration | Strongly agree | Strongly agree | |||
| Positive body tension | Neutral | Strongly agree | Same as body-awareness | ||
| Rhythmical preciseness | Neutral | Agree | I can feel that the Imaginary tool give me a precise image of rhythm, but more regarding free improvisation | Duo Andrew free impro 2.1 | |
| 9. starting-point for compositions | Disagree | Agree | I didn’t know the especially the atmosphere ideas gave me a idea to compose tunes in my own way. | Try more out and compare them | Helen |
| 10. insights for my arist | Agree | Strongly agree | That technique in the music world has in my sense a bigger impact on the message and so for the artist persona. As an actor we have mostly a message already in the play. | ||
| 11. I’m still using the ideas | Disagree | Agree | I could use it much more constantly. | -finding regular exercises that I or others could do | |
| 12. Though the Chekhov-Method | |||||
| message/lyrics | Strongly agree | Strongly agree | Marie: Workshop 4. Before 41:35 After 49:40 | ||
| Body-awareness | Neutral | Strongly agree | When working on the Method myself, I noticed how much I balanced and compared the sound of my voice with my body, more as I would do it as an actor. | ||
| Imagination | Agree | Strongly agree | Imagination open doors in a new world and a new experience. It’a hard to trust and let go. | In forrest-walk Audio you can hear clearly, when the trust is there an when its gone. | |
| expression | Strongly agree | Strongly agree | |||
| Body-sound | Agree | Strongly agree | The sound is also a very important point. In acting and singing it transports if the sound is „good“ honesty and convition. The connection to our true sound is in my opinion the key to a very true contact with the audience. Second hint to the authentic artist persona. If you ever listened to Miles Davis and you know what I mean. | ||
| Avoid stressful thoughts | Agree | Agree | Trust! Say 100% YES to the idea don’t doubt | Go over doubts not matter if it feels wrong, stay on the idea | |
| Rhythmical preciseness | Neutral | Agree | Trough the imaginary tool I came in a new world of rhythm. Especially for free improvisation. the rhythm becomes independent,independent out an imagination. How would a garden-door act in the wind, and what does it to the rhythm of the noise of the door? | -working with a picture and everyone is has a different role in the picture | |
| more in the moment | Agree | Strongly agree | In my rehearsalsI had often the feeling that the imaginary tool forces you to be in the moment. Then you listen better. | ||
| New textures sounds | Neutral | Strongly agree | Through the atmosphere and imaginary tooI I discovered so much more different sounds, very concrete I’d never used before. | -creating a conscious library of textures out of tools and pictures | Benjamin Schlauch |
| Different feeling for phrasing | Agree | Agree | This could also be a field where you can long dig into | -compare singers before after what the method makes with the phrasing, also in an improvisation. | Autumn leaves workshop |
| 13. Regular place in a music school | Neutral | Strongly agree | This method is in my opinion a very important addition to the other lessons. | One year test in a curriculum | Answers from the students |
| 14. I need … | self-confidence | focus | Focus is a way to get more self-confidence | Regular training of the tools, composition and gesture |
2.2 I’ll try to summarize the main points for myself:
-technique not easy to grab, measure or categories
-second step you need more knowledge how to form/structure your ideas to arrangements.
-gesture I would use more for a singer, combined with lyrics
-The technique has impact on many levels-sound-message-emotion-authentic artist honesty and convition.
-I makes the sound especially for a singer better
-good listening the tool leads into a atmosphere and genre
-discovering of new sounds
-atmosphere and tool gives ideas composing a tune
-atmosphere and tool open a world to a independent clear rhythmical phrases. good for free improvisation
-trust your idea keep it small
-phrasing not that strongly only in little parts, different to the actors world
Sebastian Stert 