A CHEKOVIAN ATMOSPHERE, BY SCOTT ESPOSITO

As anyone who follows Seat of the Pants knows, we are “process-driven”.  But what does that mean? At a basic level, it means we take extra time at the beginning of the (elongated) rehearsal process to use various acting tools and techniques with both the cast and creative team to help build a common vocabulary with one another and, we hope, build what Michael Chekhov refers to as the Four Brothers - a Feeling of Form, a Feeling of Ease, a Feeling of Beauty, and a Feeling of the Whole.  Put together, the Four Brothers can help build an atmosphere of trust and create a true ensemble.

I am an actor trained in the Michael Chekhov Technique. When working within the longer Seat of the Pants process, it’s easy to use the Technique’s tools that I’ve learned over the years working with both a private coach (the amazing Jamie Koeth) and going through the three-year actor/teacher certification program with the Great Lakes Michael Chekhov Consortium. Seat of the Pants uses Chekhov’s language and tools -alongside lots of other tools like Viewpoints, Laban, Action Analysis, and more - during our process weeks and incorporates that work into the standard rehearsal process. Typically our casts include some actors who are familiar with the Technique and some who aren’t, all of which makes the experience richer.

As an actor working within a company that gives itself time to create this common vocabulary, it’s fantastic because it allows the ensemble to create a short hand with each other and for the director to give much simpler and more direct notes. For example, a director could simply tell me that I’ve found the “action” for a given moment, but need to try a different “quality”. I immediately understand and can play around the next time we run that moment knowing what the director is looking for. 

But what happens when an actor trained in the Chekhov Technique is working in a process where there isn’t that shared vocabulary? 

I often have to practice “secret Chekhov”.  I’ll sometimes use the tools by myself before rehearsal.  For example, I’ll always use the warm ups of “Crossing the Threshold” and “Staccato-Legato” by myself.  I’ll also sometimes ask the director clarifying questions when given a note to make sure I can translate in my head what they say into language with which I’m familiar.

Sometimes another actor in the cast will see me offstage using a tool. If they’re curious about what I’m doing, I’ll explain it to them. That sometimes results in me explaining tenets of the technique - which can lead to a fascinating and engaging conversation, or, admittedly, a thousand-yard stare. 

Either response is totally fine. The Technique isn’t for everyone. But it is for me.

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