The use of Body-Mind Centering® to support training in Michael Chekhov’s acting technique

Abstract

This article discusses the confluence of Body-Mind Centering (BMC)® practices with elements of Michael Chekhov’s technique as foundations for an integrated psychophysical approach to acting that does not build divisions between the actor’s body, psyche, and mind. For Chekhov, actors embody their characters from creative work, driven by embodied imagination and awareness of sensory perception. BMC® proposes ‘embodiment’, which is seen as an awareness process, at the cellular level, which occurs through the participant’s experience itself, not through intellectual understanding. Linking sensory perception to imagination the author emphasizes the respect for the singularity in both approaches: for BMC® any self-perception of the body is valued and for Chekhov, actor’s creative individuality must be respected. The author has investigated, in research-led workshops, experiences of the actor’s living anatomy from body systems and patterns as new grounds for Michael Chekhov’s acting technique. This work has explored a relationships between specific imaginary centres to correspondent organs and tissues of the body and particular movement qualities to specific body systems. The practice research revealed that BMC® broadens the perception of internal physical aspects, as a mental state, which supports the development of the skills sought by Chekhov for what he called ‘inspired acting’. Furthermore, the systematization achieved in this research can be applied to sectors beyond the theatre, resonating with Fleming and Cornford et al.’s argument for a use of Chekhov Technique in applied, community and therapeutic contexts (2020).