Sebastian Stert

1.1. First Questionnaire after the Workshop-series

In this research, I used three studies to examine, how I can bring Michael Chekhov’s acting method into the world of jazz. In my first study, I worked with 7 bachelor and master students (85.71% singers, 14.28% instrumentalists) from the Maastricht Conservatory in 6 workshops of 1.5 hours each over four months.

In the workshops, I worked on three different techniques of Chekhov’s gesture, atmosphere and the Imaginary Tool (Imaginary Center). I prepared all exercises in advance and through my experience with the students for the jazz background.

In my first evaluation, I asked my regular workshop participants in an open questionnaire about the content related to the workshops and the Chekhov techniques. I deliberately asked the questionnaires with open questions so as not to specify words or content. This resulted in “keywords” that I used for my further research.

1.2. Which exercises/plays did you like the most and why?

„Awareness“ : 28,57%

„Gesture“ : 57,14%

„Meditation“ : 28,57%

Here I see that the exercise of the gesture made the most impression and that the radiation and meditation exercises seem important to the students.

1.3. In which ways do you think the technic can help/support you ?

• body-language
• lyrics
• message
• awareness
• inner critic
• different moods
• emotion expression
• imagination

In terms of content, there are of course a few overlaps such as „lyrics“ I would now also assign to „message“, but it is interesting that two keywords appear more often such as „message“ and „inner critic“. By concentrating on the message, the inner criticism in the head is also weakened. See the book: Effortless Mastery (Kenny Werner) which I mentioned in the literature section.

1.4. Can you imagine to integrate the technic in your work as a singer/musician?

And if yes how?

message 14,28%

gesture 57,14%

warm-up 14,28 % 

improve the imagination  14,28%

It is also interesting that the gesture stands out as a method with which many want to continue working. Even one instrumentalist found this technique most effective.

1.5. What do you recognize as a listener hearing the others?

better  sound 28,57%

presence 14,28%

better expression 28,57%

message 14,28%

I am glad that I have not given any keywords and that they repeat themselves. When listening to the others, evoking another keyword like sound and expression.

1.6. Did there happened a change when the others using the technic and how?  

yes 100%

no   0%

Key-words that I found in the answers:

• concentration/focus 
• message
• more convincing 
• confident
• body-language
• sound
• emotional essence 
• grounded 

As a great success for me, I can see that all of the participants noticed a change in the use of the technique. The words sound and focus were again in the foreground here.