ABSTRACT
When the late Mala Powers told me, after participating in my 1993 workshop at ATHE, that what I was doing was Chekhov, I was genuinely intrigued and responded by saying, “You have to explain this to me.” She replied by inviting me to the workshop she was giving the following day on the Chekhov Technique and promised me that I would see the light. And indeed, that is exactly what happened: watching her demonstration the following day, I realized that for years, somewhere in the subconscious of my work, there had been a powerful underground current flowing inside me that connected me to Michael Chekhov like the “muscle” I describe in the Mirror Exercises above. From just an intriguing name I heard in my distant past as a student at Tel Aviv University, “Mischa” suddenly became my retroactive mentor, a Master and a colleague, and the techniques he developed—the natural continuation of ImageWork Training into character, text, rehearsal, and performance.
