Small roles in plays or films can be an extraordinary problem for an actor and yet the majority of us are in that situation. Our ego tells us we have loads to offer and yet we have to fit into this project with energy when we may have only a few minutes stage/screen time. Yet our contribution can be enormous and telling under the right circumstances. Looking at Brecht, Shakespeare, Chekhov and a modern TV script, we will explore and share this dilemma using the Michael Chekhov technique to find the balance.
Max Hafler 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 his next book, ‘What country Friends is This?’ about young people, Chekhov Technique and Shakespeare will be out next month . 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. 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.