By:  Lisa Dalton 

PART 2 

In Part One on Michael Chekhov’s Psychological gesture, we discussed “who”, “what”, “why” and “how.”  Now we go deeper into the “how” to create a more effective PG.  Try your villainous PG as developed at the end of article one.  Is it stimulating you artistically? 

If the movement does not affect you, there might be several reasons.  The form of the movement may not be right for you.  Perhaps your villain snatches rather than presses?  Or maybe you are only committing a half-portion of your energy?  This will result in only being half inspired.  Perhaps your concentration on the image is weak?   In this case you must develop strength there.  In Michael Chekhov’s system there are many exercises to awaken the mind-body connection.  Doing these increases the impact of the gesture.  Like any great musician, you first learn the scales and then how to play a melody. 

Some times you can shorten the Leading Questions sequence by visualizing the character and asking it to show you it’s PG.   This requires well-developed concentration skills.  Visualize a beam of energy (light) going up from your core through the top of your head straight into outer space.  Now, visualize “beaming the character down” as in Star Trek.  Imagine the details as the character materializes from the feet to the head.  Now, imagine it shows you the PG.  Imitate what you see as closely as possible.  Observe how the movement impacts you.  Your ability to identify and imitate what you see is developed through additional Michael Chekhov tools. 

Is there only one PG for each character?

You can have an Overall PG that will help you perform any given moment in the story and you can have different PG’s for different sections, moments or “beats” in the story.  Every objective you identify can be “gesturized.”  This transforms your intellectual knowledge of your objective into your body and voice:  the only parts of the actor that the audience actually experiences.  You know you have found your Overall PG when it stimulates you for every moment regardless of the scene you are creating. 

Why don’t we know more about this?

When new ideas are introduced they are often attacked and mocked before given fair consideration.  It may appear self-evident to many that the mind and body are inextricably connected, however, the idea that one can activate emotion, desire and images through a body movement was too mysterious – too “mystical” – for most people during Michael Chekhov’s life.  Fortunately, he wrote the books:  “On the Technique of Acting” and “To the Actor” which were the primary means of learning the PG for Hopkins and Depp.  Today, more actors are willing to share their “secrets”, and modern technology has helped to spread the word.   

As it would be difficult to learn to play the piano only through reading an article, the same is true with the PG and all of Mr. Chekhov’s unsurpassed techniques.  Hopefully this information has inspired you to pursue new possibilities with your acting.  Visit:  www.chekhov.net for more information and training opportunities.

Lisa Dalton is a well known acting coach and master teacher of the Michael Chekhov Technique. She is an award winning narrative and documentary film, video and a stage director/producer who heads up the  Chekhov Connection. Lisa works closely with the Secret Rose Theatre(current director of Of Mice and Men-now extended) in NOHO, where she offers a Master Scene Study and the Chekhov Foundation Intensive. Free Audit Feb 21 and Mar. 21.