ABSTRACT
This chapter aims to use the technique in a practical way for actors, teachers, and directors. Learning this technique is about one’s own investigations, one’s own experiences, one’s own stumbling and success. The technique offers multi-functional and simple tools applied to dynamic principles. The Michael Chekhov technique is simpler than everything else, but it is difficult in the beginning to settle the mind down and allow the simplicity to have its effect. There is a story about how Stanislavski and Chekhov met one day in a café in Berlin a few years after Chekhov had emigrated from Russia. Chekhov agreed that the character is in front of the actor, but he believed that the actor should move himself towards the character and transform himself into the character. The use of imagination and the image gives the actor a freedom to reach beyond his personality.
