Michael Chekhov and Sanford Meisner : Collisions and Convergence in Actor Training (Paperback)

Part 1: The Masters 1.1. The Meisner Approach: "Be simple and rediscover the world"? Dostoyevsky Susan Coromel 1.2. The Relevance of The Meisner Technique in Today’s Actor Training Tom Prior 1.3. Michael Chekhov’s Inspiration for Actors Dawn Arnold Part 2: Expeditions in Deep Training 2.1. Meisner in the Undergraduate Setting Greg Ramos 2.2. Teaching the Michael Chekhov Technique in an Undergraduate Program; the Problem and the Arrival Mark Monday 2.3. Reality VS Pretend: How to Surmount Collisions In Search of Truth Lisa Dalton 2.4. We Are Not Historians Kimon Fioretos Part 3: Methods in Convergence 3.1. The Evolution of a Studio Liz Shipman 3.2. How the Michael Chekhov Technique Influences and Supports the Elements of the Sanford Meisner Approach Susan Coromel 3.3. Meisner in the Classroom, Chekhov in Rehearsal - Pairing Complementary Methods in Smaller Liberal Arts Programs Anjalee Hutchinson 3.4. Studio Work with Meisner as Foundation and Chekhov as Advanced Study Robb Maus 3.5. Activating Meisner and Chekhov in the Secondary Acting Classroom Eric Young 3.6. Sculpting the Energetic Action: Taking us "Beyond the Verb" Alexis Black 3.7. Sensations in Place of Emotional Preparation for the Students that say "I Can't" and Mean it! Kimon Fioretos 3.8. Re-discovering the Joy Wil Kilroy Part 4: Techniques In Practice 4.1. Warming up to Repetition and adding physicality with Chekhov’s Psychological Gesture James Savage 4.2. Listening and Responding with the Body; How Chekhov Technique Can Enhance Meisner’s Repetition Exercise David Haugen 4.3. Finding an Emotional Connection through PGs, POV's and the Ghost Exercise James Savage 4.4. A Psychophysical Path to Moment to Moment-The Gift of a Lifetime. Chekhov’s Repetition Exercise 12-13 Lisa Loving Dalton 4.5. Bringing Meisner and Chekhov Techniques into the Rehearsal Room, Sort of… David Haugen Part 5: Continued Collisions and Strategies for The Future 5.1. Conclusion: The Case for Non-Erasure in Actor Training Anjalee Hutchinson