The Master Key to Acting Freedom: Getting Ready for the Theatre of Life

By Graham Dixon

Graham Dixon has been involved in the work of Michael Chekhov as a professional actor, director and teacher for nearly 50 years, having studied with and met many of Chekhov's original students. As the director of the Michael Chekhov Studio London, he's recognised internationally as one of the most important teachers in this imaginative approach to acting.

In The Master Key to Acting Freedom, Graham explores the basic principles of Michael Chekhov's approach to a new way of acting. Over the course of a four-day workshop with twelve participants from varying backgrounds, he shows how Chekhov's approach is radically different from many of the practices currently taught to actors and directors. Chekhov's approach is an 'open system' enabling the actor to access directly - 'to tap into' - an objective, creative world by using a heightened ability to imagine and sense. The resultant feelings, thoughts and will impulses are natural, unforced, true and joyous!

• Language: English
• Publisher: Tellwell Talent
• Release date: Apr 19, 2021
• ISBN: 9781922542717

Book preview

THE MASTER KEY

TO ACTING FREEDOM

Getting Ready for the

Theatre of Life

By Graham Dixon

Inspired by Michael Chekhov and Rudolf Steiner

This is an IndieMosh book

brought to you by MoshPit Publishing

an imprint of Mosher’s Business Support Pty Ltd

PO Box 4363

Penrith NSW 2750

https://www.indiemosh.com.au/

Copyright 2021 © Graham Dixon

All rights reserved

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The author has made every effort to ensure that the information in this book was correct at the time of publication. However, the author and publisher accept no liability for any loss, damage or disruption incurred by the reader or any other person arising from any action taken or not taken based on the content of this book. The author recommends seeking third party advice and considering all options prior to making any decision or taking any action in regard to the content of this book.

I would like to dedicate this book to the memory of

Alice Crowther 1892 to 1967

Speech and Eurythmy teacher at

The Chekhov Studio, Dartington Hall,

Totnes, Devon, UK, 1936 to 1938

Chekhov Studio, Connecticut, USA, 1938 to 1941

Sydney, Australia, 1942 to 1967

who through her very being

changed my life completely.

A subtle suggestion:

Read this book aloud to yourself,

or read together with a friend.

It is clear to me that the most urgent task of the actor is to work upon himself, his technique, his being as an actor. The theatre needs for its salvation not only a new repertoire but a new actor!

The actor who imagines that he is the creator of his own creations alienates the audience and arouses a protest within it.

Michael Chekhov

… we are driven to perceive with all the more certainty that for dramatic art, intellectualism is the very last thing needed, and sensitive artistic perception the first.

Rudolf Steiner

All we have to decide is what to do with the time that is given to us.

Tolkien – The Lord of the Rings

PROLOGUE – The First Inklings

On 8th May, 2019 at 17:19, I received an email.

Dear Graham,

I am writing to you because for several years now you have been a great source of inspiration to me and I thought it was about time I made contact. I am one of those people for whom the discovery of Michael Chekhov came with the price of complete lifelong devotion (even if my life so far is relatively short – I’m 23).

I am currently training at a London Drama School, due to graduate in September. The school has a deep anchor in the American ‘method’ pedagogies of Meisner, Hagen and Strasberg. This probably sounds ridiculous but I have found this to be deeply distressing throughout my training. Consciously or otherwise, fear permeates the teaching space, creating an atmosphere of insecurity. I have often found myself in complete isolation and disagreement with the training and doing secret Michael Chekhov work, when I should be tormenting myself with moments from my childhood.

Looking ahead, I wanted to make contact with you, as I feel I am still searching for that which stirs the deep resources of my soul and wanted to reach out to those that have inspired and saved me. You have been one of those people, so thank you.

Yours with deepest gratitude.

Andy

On 9th May, 2019 at 11:30, I replied.

Dear Andy,

Your email has moved me tremendously. I think we had better meet and have a chat. The sooner the better. Are you free next Saturday? 3pm at Café Nero at Seven Dials?

Graham

We met. We chatted. We talked. He poured his heart out to me. His frustrations, his concerns, his ideals, his aesthetics. He was shattered by his training, not finding anything in it which even slightly mirrored back to him what he was searching for, thirsting for. This was not a breakdown, nor a coming-of-age psychological upheaval. It was an existential crisis where his artistic inner life and destiny had been threatened and abused.

By watching the short videos of me chatting on my website about some of the basic elements of the Michael Chekhov approach, Andy had found a seeming lifeline out of the despair which he was suffering from, a ladder that could lead him out of the abyss.

I was baffled by how he spoke so clearly and objectively about, what was to me, a deep spiritual crisis.

Why was it, he asked, "that the teachers wanted to break me down, break me like an animal is broken before it can obey and surrender to its masters’ wishes and commands? They claimed it was so that I could be truthful, that there was so much in me that was not real. I had to be humiliated and bashed, ground down to find the integrity and truth of the moment, not to hide behind a false image of myself, of what I thought acting was.

"They kept saying ‘don’t believe you’, when I was working on a text or a script. ‘Don’t believe you!’ or ‘Be more committed! Be more passionate!’ They never once gave me a way to make it believable, committed or passionate. Never once suggested a technique or a method to help me find the core or even a tickle of the character. They told me to delve deeper into my past, to be more ‘truthful’, even suggesting that there is no such thing as character. Of course, this made me more tense and forced me back into my head, into my intellect. No word about imagination, no mention that there may be something else that I could tap into besides my own subjective experiences, my own story. ‘Break it down into units, beats, intentions, objectives, super objectives.’ More breaking down – I was already broken! More analysis, more thinking. My head was spinning and I became more stuck, more tense, paralysed and suffocated.

Why do I feel that I am the one that is wrong, that there is something wrong with me? That I must give up and see as false all that I believe acting and theatre to be: joyous and energy giving.

He paused and sipped his coffee.

And so I emailed you.

What could I say to him? What could I offer? Sympathy and reassurance that he was asking the right questions? That I, too, as a young actor, had asked similar questions and had searched for a training that could answer my inner needs? I felt that I was on very tender ground. That whatever I said would either disappoint or injure, so I said, "Come to my four-day workshop on The Master Key to Acting Freedom next weekend."

I won’t be able to manage the workshop this weekend. Things are a bit tight financially at the moment but I’ll have time to save the money to pay for next month’s workshop.

Well, come and help with the coffees and clearing up at the end. The workshop will be a gift from me.

The Participants

THE FIRST DAY

Chapter 1

Andy was at the workshop venue early. I asked him to arrange 13 chairs in a circle. He then helped me to set up the kitchen for coffee and tea during the breaks. He was eager and had an air of excited expectancy about him.

There were 12 participants. Some had worked with me before, while the others, like Andy, were all new to the work. A mostly mixed bunch of actors in their twenties or early thirties, that had trained in one way or another, either in a full-time actor training course or had cobbled together a training from ad hoc classes and workshops in various acting methods from the 20th century. Some had experience working professionally in various mediums of performance. There was an older man, Nigel, a clinical psychologist in his early forties who, having read Chekhov’s book To the Actor, saw how this – what he called a radical method – could help him in helping others. One participant was a trainee director. Another, a teacher in the drama and theatre department at an established university.

We started by simply introducing ourselves by name and how we encountered Michael Chekhov’s work. I then asked them, as actors, what were the burning questions that had brought them to this four-day workshop.

For the new participants, their questions all boiled down to:

How do I stop judging myself?

How do I get out of my head?

How do I stop analysing?

How can I have a natural confidence and be free?

The ones that had worked with me before simply wanted the opportunity to plunge deeper into the work, to form a stronger relationship with the artistic principles of the Chekhov approach.

Sarah, a trainee director, wanted to understand the process that actors in rehearsal go through. She felt that, in working with some directors as their assistant, there was a tendency for the director to treat their actors like marionettes.

Frances, a drama teacher, was interested in how to best help her students. Nigel simply wanted to take the concepts he had gleaned from his reading, to experience them in a workshop environment and then try to apply them in his clinical practice.

Once they had all introduced themselves and shared their questions and needs, I introduced myself.

"I came across Michael Chekhov’s work in the mid-sixties, when I was a very young drama student in Sydney, Australia. I had problems with my voice and felt that I wasn’t using it properly. The voice classes I was attending used the techniques of diaphragmatic breathing, storing your breath so you would have enough to get to the end of the speech, then projecting the voice, so that you could be heard at the back of the theatre.

"A friend mentioned a particular voice teacher that might help me. The teacher’s name was Alice Crowther. Little did I know at the time that she was the voice, speech and eurythmy coach who worked with Michael Chekhov when he was invited to set up the Michael Chekhov Studio in Dartington Hall, Devon, England in 1936. Because of the uncertain political situation in Europe, the Studio moved to the USA in 1938. Alice went with them. I had my first class with her in a leafy suburb of Sydney and she changed my life.

"Now, what are my needs and questions? I have a great need that this work continues, grows and develops. There is a tendency with all great artists who leave an enduring legacy that the first generation of followers or disciples feel impelled, rightly so, to keep the work of the master pure and untarnished. In the second generation there is a tendency, if they are not careful and vigilant, to fall into set ways and dogmas. For the work to continue and grow, we must, based on the legacy of that foundation, create new exercises and a new ever-changing vocabulary. These must develop and relate to the universal principles which Chekhov connected with. He didn’t invent but uncovered, dis-covered, what actors once intuitively knew but have now mostly forgotten.[1]

"My question is: How can I best answer your questions? Not by concepts, lectures or talking but by allowing you to experience for yourselves the truth of this approach. Practically applying to your acting the same principles which Michael Chekhov was inspired by. These objective principles can be subjectively experienced. This means that you own them individually, work with them, form an intimate relationship with them and they with you.

"However, before we begin, let’s ask ourselves an important question. By answering this question, we may best understand how this work fits into where we are today as actors, where we are today with actor training and where theatre is today. Formal acting training really only started around the beginning of the 20th century – not that long ago, when you consider the long history of theatre and acting. So the question is:

What is the difference between Michael Chekhov’s approach and that of all other theatre practitioners of the 20th century?

"Let me attempt to answer that question by using the jargon of computer technology. Many of the practices available to actors and directors are based upon ‘closed systems’. Systems that look inside one’s own psychology to create a character and to find feelings. Chekhov’s approach is different.

"On your computers or smartphones, you have applications that have been programmed to do something specific. Book a flight, find a restaurant, calculate currency. How to get from one place to another and so on. It’s obvious that a map app won’t allow you to divide 456.72 by 37.21, nor a restaurant app tell you the best way to the workshop studio.

"Applications only output what has been inputted by the programmer. No more, no less. It’s called a closed system. Similarly, in recent times it has been suggested that we also are a closed system. You can only get out of you what has been put into you. Your memory, your education, your gender, your deep-seated disposition, your DNA, the nation and culture that you were born into and, possibly, your karma.

"Now, Michael Chekhov talked about an open system. One which we can access without having to fall back into our own past experiences. These are, naturally, very limiting. He called this open system the World of the Imagination. It enables the actor to tap into or access directly an objective creative world, using a heightened ability to imagine and sense. The resultant feelings, thoughts and will-impulses are natural, unforced and true – and joyous!"

I noticed that a few of them were scribbling in their notebooks as I was saying this.

Enough talking and thinking. Let’s get onto our feet and start experiencing by doing, by moving! I added, Put away your notebooks, you’ll remember what you need to remember. Actors are not note-takers!

Chapter 2

We pushed the chairs back to the edge of the room. We stood together, forming a circle.

"Let’s start with a simple question: What do I need as an actor? A painter requires canvas and paint. A sculptor needs stone or clay. A musician needs an instrument. What are my tools? Whatever you think of, just throw it into the circle. Nothing you say will be wrong, so don’t censor what first pops into your head."

The words came thick and fast. Emotions, confidence, eye contact, passion, intelligence, truthfulness, commitment, feelings, imagination, ideas. There was a pause. I suggested that there were many more tools that an actor needed. Slowly, more words came. A script, a performance space, a stage, other actors, costumes, scenery, props, sound effects. Then, a body! Last of all, an audience!

An audience! A very important and mostly forgotten part. I continued, "Without an audience, we cannot practise our art. Our art is the art of giving. We can do without a stage as such, we just need a space to perform in. We can become minimalist and have no scenery or props but we do need an audience and we do need a body. A physical body."

There was an attentive silence as if there was more to come.

I placed into this silence a question. If we put all these different words into different boxes or categories, how many would we need?

Tim, a quick-witted man in his late-twenties who had worked with me before, instantly said, Only two boxes.

I replied, And do these boxes have names, Tim?

He responded, One is called Material and the other Non Material. Then there was an excited chorus, everyone talking at once.

Or Physical and Non Physical!

Tangible or Intangible!

Visible or Invisible!

Object and Subject!

Spiritual and Material!

Soul and Body!

In and Out!

Soma and Psyche, offered Nigel.

Categories! I said. "Two great categories! Michael Chekhov gave us exercises that enable us, with practise, to bridge these two worlds. He called them psychophysical exercises. If he were alive today, he may have called them body-soul exercises. We can understand why he didn’t, for the word ‘soul’ carries a tremendous amount of baggage.

Let’s start with the physical box first. Without physical things, the actor – or any artist for that matter – could not express his ideas or feelings or thoughts. The painter needs his canvas, a wall or a computer screen. The sculptor his substance to mould, shape or chisel. The musician needs an instrument to play on. The writer, his pencil and a page.

I thought of Blake’s little poem about the quill and the ink:

And I pluck’d a hollow reed,

And I made a rural pen,

And I stain’d the water clear,

And I wrote my happy songs

Every child may joy to hear.

Acting By Numbers

"To make things very simple, so that there is no baggage to these concepts, let’s call the physical body, our instrument, Number 1, and the psyche, our inner life, Number 2. It is apparent that Number 1 is the instrument which the actor uses to manifest and express the inner life, the Number 2 of the character he is portraying. Without our physical body, no matter how truthfully and intensely we are feeling, the audience will not and cannot enter the Number 2 of the character. The character’s wishes, dreams, thoughts, feelings, ideas and memories remain unknown. Nothing is shown unless it is revealed through the body, the instrument of the actor. Without the body, the physical instrument, there is no show!"

To demonstrate this, I suddenly disappeared behind a long curtain by the window. I waited there quietly for about 10 seconds and then reappeared, asking, "What was I feeling? What was I intending? Who was I?" They got the idea immediately.

Rather dryly, as if it was a no-brainer, Tim said, We got nothing because you weren’t there!

I emphasised the point. "We need a physical instrument to reveal what’s going on inside. This instrument of ours, our Number 1, must be clear and pitch perfect!"

I continued. "A musician needs his instrument perfectly attuned, neither too sharp nor too flat. A painter generally starts with a blank page or canvas. An actor tunes his instrument by warming up and positions it in the space ready to be played.

What is the right position for the instrument to be played? The flute under the chin? The drum under the bum? The guitar between the legs?

Here, I showed them a couple of comical sketches that a past participant had drawn.

"Musicians are a good analogy, for we can see very clearly that each instrument demands from the player a particular position, a particular relationship. We could say an optimum position, the best position. The most comfortable for having an ideal relationship between player and instrument. We all strive for relationships and we all dream of a perfect relationship!

"The flute to the lips, the clarinet to the mouth, the violin under the chin. Sitting down with the cello between the legs, standing behind the double bass, sitting in front of the piano. For musicians, these are the ideal positions. What, then, is the ideal position, the optimum position, for the actor’s instrument?

From 20th century practitioners, we have all sorts of methods and disciplines to try to achieve a relaxed and responsive body: the Alexander technique, Feldenkrais, and many more. For some years now, actors have also been using Eastern techniques such as yoga, martial arts and meditative breathing.

Optimum Position

As I was talking, most of the group, without being particularly conscious of it, began to alter their positions. Nigel, who was resting his chin on his hand, slowly let his arm fall to his side. Penelope, a short lass, lifted her head a little, drew her feet closer together and straightened her back. This was mostly imperceptible but there was a subtle yet noticeable change of atmosphere in the space.

Tim, thin and tallish with a constantly curious and surprised look on his face, made an upwards gesture with his right hand and a downwards gesture with his left pointing to the floor simultane­ously. The others saw Tim’s gestures and began to unconsciously mirror them with their bodies, appearing taller and less limp.

It would appear, I said, also mirroring Tim’s gesture, "that standing up, becoming vertical, has something to do with the optimum position. So, let’s now become conscious of the vertical by sensing that our head is gently grazing the ceiling above us, barely touching it. At the same time, we are going down, our feet are sensing the floor beneath us. Is the floor hot, wet, rough or smooth? Just notice what the sensation is in your Number 2. Now become aware of your eye-line. Look straight ahead onto your horizontal line. Place your feet together and let your arms fall to your sides."

For some, I noticed that the feet together in a parallel position was somewhat strange. Fiona, a dancer with a background in physical theatre, immediately remarked that she felt most unusual with her feet together and was not at all comfortable.

I feel awkward, as if it is a false position, she said. "I need to