Since I have to run a few errands today and pick up some supplies, from the Dramatic Education office, for my children’s acting class, which I start next coming week – I wanted to begin my day right with the 5 Tibetan rites and exercise a tool from the Chekhov technique. Today, I chose to work on Characterization – using Centers and placing them in either Thinking, Feeling or Willing. I wanted to have fun with it so I merged these two tools together. After the Tibetan rites I went into the simply working with sensing the IAC and feeling the energy body by radiating a movement out into the space and then physically doing the movement or gesture. I followed that with the Actors March, allowing this concept of the IAC to really lead me as I walk around the house and really sensing the impulse of the energy forces in each of the TFW forces, while saying the March. From there I went into the Centers/TFW exercises. I chose 3 centers for each of these; so in total I played and explored with 9 centers.
Overall, I really enjoyed the process of once again planning my play date, setting out goals for myself to accomplish and executing my plan. It really does increase this sensibility of the Higher Ego (aka Your Artistic Self), because you realize you’re creating little pieces of art by exercising in this way. You are not using your everyday self. I really enjoyed this sense of productivity and application of the principle of Continuous Acting, which Chekhov teaches us.
Double Stuff: The one thing I would do differently is to continue to explore how the tool, in this case: centers and TFW, can affect or influence my voice more. I know based off of my mentors' observations from the last two intensives I attended this was something they were encouraging me to work through. So I am really trying to allow my Higher Self to direct me in this way. I felt at times that my voice was coming from whatever center I chose, however I also sensed that it was coming back up to “Joe’s” every day self voice. So as a result, more focus and concentration on this is required with any of the tools and its application/influence toward my voice.
My favorite moment had to have been where I placed a center in the lower torso area. The location was more specifically right below the sternum and right above the belly. The quality was a gaping hole (empty and void) that went through toward the back area. The mobility of the center was static. This was an amazing choice; it produced a character that came out of nowhere! I kept wailing “Oh” as if in deep depression or pain. It produced a slightly contracted pattern of energy and walk, and as far as my voice, I felt it was really connected to the image and the center. It had a deeper tone to it and images like a broken down King Lear started to emerge! Or even thoughts of person dealing with unbearable news and the impulses all emerge from that gaping center in the torso. Oh it was fascinating to work in this way (Psycho-Physically)!!!
Hi- I am attempting to discover what IAC is defined as in the chekhov technique- I am only finding reference to actors finding their IAC; nothing telling me what that refers to with the exercises. If could please help tlwilliams@fhsu.edu tomme williams
ReplyDeleteHi Tomme!
ReplyDeleteThank you for stopping by my blog and exploring the information I have posted on Michael Chekhov and his approach to acting.
The IAC in the Chekhov world of pedagogy is short for Ideal Artistic Center. Chekhov believed that every actor was first and foremost an artist and therefore by this artistic nature every true artist was an idealist; for every true artist was after an "ideal theatre" -- something higher than themselves. Moreover, he discovered that this Ideal Artistic Center resided within the chest of the artist, approximately three inches below the collar bone and three inches deep within the chest. He referred to this center as the Higher I (Ego) of the actor where all of the actors impulses for movement, creativity, inspiration and energetic movement originates from. One exercise to test this concept is to think back the many times you were talking about yourself to someone else, without a doubt you were always pointing or referring to somewhere within your chest, as "I" or "Me" consciousness. Chekhov also optioned that this IAC had an image -- a Bright, radiant, warm and open golden Sun. If you imagine this center as a golden sun with these qualities you will sense yourself more expansive, more ideal in a sense, more awakened.
In his book "On The Technique of Acting" you may find references to the
Higher Ego on Pg.15-25; Ideal Center Pg. 44. There are many exercises to engage and awaken the IAC and thus the Higher Ego. Here is one example:
IAC-Impulse
Envision the presence of energy in this special place which is filled with a golden white light (ie: sun). Imagine an impulse shoots from this center to a part of the body and compels it to move. Release the movement when the impulse fades.
Explore this for a few minutes. Now, when the impulse moves a part of the body, hold the body where it fades, then allow a new impulse to carry it to another place, creating a second movement following the first. Eventually add more impulses until the body actually walks with all impulses coming from this ideal center. Imagine there are no joints or bones in the body, rather that you have only one connecting point, much like a scissors. You are a body of light, like in “Cocoon”.
I hope this clears up any confusion. If not, please email me again so I may find other ways to clarify.
Also you may visit my website for further info: http://www.michaelchekhovstudioorlando.com/
Or check out my Chekhov YouTube Playlist: https://www.youtube.com/playlist?list=PLf1AWspjJU8Alh9ud_QM26HPyr8N0U6Pc
Look forward to your response. Radiating goodwill to you!