If you were playing Hamlet in your imaginary fantasy production what would Hamlet be like/ behave/ respond/move? . What would their energy be like? /What shape would they be? Where might the high points be of the performance of the character? what might be the focus of your production?
Working with Michael Chekhov’s ideas on composition, polarities, and using Psychological gesture, voice, imaginary centre and atmosphere, each participant will ultimately focus on one soliloquy in particular , whilst contemplating the whole of the play in their ‘production’ . For directors and performers alike. Some Chekhov experience required.
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The tutor is Max Hafler who began his professional life as an actor, training at LAMDA and working with a whole number of distinguished actors and directors. He is a theatre tutor, director and writer who now specialises primarily in Michael Chekhov Technique and Voice. He trained in Chekhov Technique at MICHA and Michael Chekhov Europe. He teaches at NUI Galway in Ireland, and has guested at Boston MIT, USMaine Gorham, the Lir and others. He has worked extensively on youth and applied theatre programmes. His book, Teaching Voice, was published by Nick Hern Books in 2016 and he is under commission to write one about young people, Chekhov Technique and Shakespeare . He set up Chekhov Training and Performance Ireland to make the West of Ireland a hub for the acting technique. Of his many productions, his most recent professional production was for The Sacrificial Wind , a poem-play by Lorna Shaughnessy about Iphigenia, recently recreated online and to be shown at the MICHA festival this year. His college and youth theatre work include The Caucasian Chalk Circle, Yerma ,The Trial, The Bacchae in the version by David Greig and most recently, Twelfth Night.