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2016 MICHA Newsletter
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Teacher Training Workshop 
January 5-8, 2017
in New York City

International Workshop and Festival
June 23-July 1, 2017
in New London, CT
at Connecticut College
Joanna Merlin, Summer 2016
Dear Colleagues, 

In our mission to bring new teachers onto the faculty, in 2016 we were pleased to invite Dale March from Australia to join us at the 2016 MICHA International Workshop. Hugh O’Gorman has taught with us in our Teacher Training, but this was his first time teaching at the MICHA Summer Workshop. MICHA was invited to teach again at the Cal State Summer Arts, and our faculty included Camille Litalien and Séamus Maynard.  We inaugurated the Michael Chekhov Scholar Award in 2016 and Connie Rotunda was the first recipient. She guest taught a class integrating the Chekhov technique and the Feldenkrais work.  Following her year of practical research, she will speak about her work and teach a second class at the 2017 workshop.  We have invited Meryl Cooper to join MICHA’s Board of Directors. A public relations executive in New York City, she is already making a valuable contribution to MICHA and we welcome her participation.  Editing and translation efforts for the new and expanded edition of Michael Chekhov’s Lessons for Teachers, original edited by Deirdre Hurst du Prey, continue and we look forward to a pre-release celebration at our workshop this summer and to publication in the fall.  Thanks to the combined efforts of Jessica Cerullo, Ragnar Freidank, Maxim Krivosheyev, Hugo Moss, Rosa Tolskaya and Mani Wintsch, this new edition will be available in English, German and Russian. 

We are all saddened that Zelda Fichandler died this year. She was a dear friend and member of our Board.  I have written a memorial column about Zelda in the Newsletter.  Our 18th annual International Michael Chekhov Workshop and Festival will be dedicated in her memory and will, once again, be held on the beautiful campus of Connecticut College in New London.  We thank David Jaffe, Chair of Theater, for his gracious hospitality in making this happen.  I wish you all a healthy and inspiring 2017!

Warm regards, Joanna 
 
Fundraiser for Michael Chekhov's "Lessons for Teachers"

Chekhov's Lessons:
A New MICHA Publication

 
For nearly 18 years MICHA has invested its resources in the education of teachers in an effort to bring the Chekhov Technique to students around the world. We feel that the development of the actor’s instrument, whether for the stage or for developing our presence in daily life, is of vital importance. As Chekhov reminds us in a lecture given April 15, 1936, “Everybody has the creative spirit, but they have so many locked doors that they seem to be pieces of wood or stone. They are only doors which can be opened up, and we will see at once that the person is a brilliant, creative person.” Our newest effort to support teachers in their endeavors to open the doors for the next generation, is the publishing of the NEW and EXPANDED version of MICHAEL CHEKHOV’S “LESSONS FOR TEACHERS”. This book, currently out of print will be released in print and e-book form in English, German, and Russian. We need to raise just $3000 more to complete the project and hope you can assist us in this important effort. Donations are tax deductible.
DONATE HERE
 

Complete the MICHA Survey
and Stream a Class for Free

Your last chance to take MICHA’s survey is now! Click here to add your voice to the future initiatives of MICHA. If you have not yet completed the survey and do so before January 2, you will receive a code to stream a free MICHA video class.

A New Space for Open Space in 2017

In 2011 MICHA began to host the Open Space: “Theater of the Future” following each of the Summer Workshops. This year, however, we will utilize the structure of Open Space prior to the Workshop. The first two days will begin with participants and faculty convening and attending sessions. The faculty will then structure the 5-days of classes based upon some of the prevailing questions and topics explored during the Open Space. Our 2016 survey indicated that many of our attendees engage the Chekhov work in community inspired settings. To meet this interest, MICHA has invited Marjolein Baars from the Netherlands to teach at the workshop this summer and to address an advanced group of Chekhov practitioners who wish to deepen their relationship to their citizen artistry. We look forward to sharing the results of our work with you in the coming months. Join us this summer in Connecticut as a student in the Open Track or Citizen Artist Track.


Inaugural Michael Chekhov Scholar Recipient,
Connie Rotunda

This year, MICHA announced the creation of The Michael Chekhov Scholar Award and its inaugural recipient, Connie Rotunda. Connie received her accolade and presented her work at our International Workshop and Festival. She will return to the Workshop in June 2017 to present a second workshop and share the results of her MICHA sponsored practical research.   

A long-time teacher and practitioner in the field, she trained with David Zemach-Bersin and is a Guild Certified Feldenkrais Method® PractitionerCM. Formerly the Lead Teacher of Movement at the New York Conservatory for Dramatic Arts, Connie is the Assistant Professor in the Theatre Arts Department at State University of New York, New Paltz. A professional actor and director, she has worked regionally and Off-Broadway, created, and performed sketch comedy.  “Just like the old joke would begin: ‘Dr. Feldenkrais and Michael Chekhov walk into a bar..’, my work is, in a way, an experiential imagining of the two men sitting down to hold a friendly dialogue,” says Connie Rotunda. “I am always seeking to illuminate a synergy– a seamless shifting of our internal choreography – dancing between Dr. Feldenkrais’s scientifically human approach and Chekhov’s spiritually artistic approach.  In both exist the deep appreciation for breath, openness, wholeness and the potency of the individual.”

MICHA’s New Chekhov Studio Scholarships

MICHA seeks to support independent studios dedicated to Michael Chekhov technique and this year we recognize the efforts of studios in Los Angeles, Chicago, Boston, and New York. These studios, under the direction of Marjo-Riikka Makela, Dawn Arnold, Scott Fielding, and Lenard Petit, respectively have worked with dedication and understanding of the Technique, and were born as impulses arising from a connection to MICHA. Each of the artistic directors is considered a faculty member of MICHA, and we know that they draw inspiration and dedication from this connection.

In acknowledgment of this, the Board of Directors has elected to offer each of these studios, Chekhov Studio International, Chekhov Studio Chicago, (The Moving Dock Theater Company), Michael Chekhov Actors Studio Boston, and The Michael Chekhov Acting Studio New York, a scholarship to our annual International Workshop and Festival. The artistic directors will award the scholarship to a deserving student who is currently studying and who wishes to attend the MICHA workshop, but cannot because of financial hardship. We look forward to meeting these four students and working with them in New London in June.

Your MICHA Membership

Re-New your MICHA membership in 2017. Members enjoy discounts at our workshops and post to our 'find a teacher' page on the MICHA website.
My friend and colleague, Zelda Fichandler, a member of the Board of Directors of MICHA, died in July of this year. She was a legendary figure in the theatre world, having been awarded the National Medal of Arts and inducted into the American Theatre Hall of Fame.  Zelda, a pioneer of the regional theater movement, founded the Arena Stage and was its Artistic Director for many years. I met Zelda in1963 when I performed at the Arena. Later, Ted Pugh was a member of the company.  As Chair of NYU Graduate Acting, where I teach, she was a fountain of creative support, encouragement and inspiration. She inspired the teachers and students to keep probing, learning and discovering. She loved actors and acting with a passion and was a powerful and ebullient life force.  As a scholar of Russian theater, she read Anton Chekhov in Russian, and knew and loved Michael Chekhov’s work well before it was known and taught in most training programs. Michael Chekhov’s technique was right up Zel’s alley. She asked me to introduce Psychological Gesture to the NYU students.  When I founded the Michael Chekhov Association in 1999, the first workshop was not fully registered. I was wavering and spoke to Zel about the possibility of cancelling till the following year. “The only way to begin is to begin” she said “Don’t cancel! Keep on, Keep on. It is the only way to stave off death and decay. The students will come. ” I took a deep breath and followed her advice. And they came. She knew it was the right time.   She wrote an introduction to our DVD series, “Master Classes in the Michael Chekhov Technique”. In it she wrote “Perhaps it is Michael Chekhov who has left us with the most personal and most unselfconscious ways of tapping into the imaginative layers of the actor’s psyche, freeing him from the constrictions of the intellect.”  She directed “The Cherry Orchard” at NYU in 2004. She wrote her suggestions for Preparing to Rehearse to the students, “Always read with a sense of curiosity: you are opening a door, what’s inside? Who’s there? As impressions come to you, here and there, hold onto them in a loose, open way. If a moment grabs you as real, bless it …Look for the web of connection between the characters.”   I am saddened that Zelda is no longer with us but deeply grateful that I had the privilege of knowing her. —Joanna Merlin

NEW PUBLICATION from
ANDREI MALAEV-BABEL

 
Congratulations to Andrei Malaev-Babel who co-edited the book Nikolai Demidov: Becoming an Actor-Creator. Andrei has taught with MICHA and serves as one of our board members. Following our annual meeting this fall Andrei described Demidov as one of Chekhov’s contemporaries, “they both studied with Stanislavsky, the two knew each other, shared ideas and were both influenced by Steiner. Not to mention that the two approaches have proven to complement each other, and to be quite compatible in my practice.” Despite being one of the original teachers of the Stanislavski system, Demidov’s name was little known either in his native Russia or the wider world until the turn of the 21st Century. Since then, his extensive works have been published in Russian but are yet to find their way to the English-speaking world. His sophisticated psychological techniques, stimulation of creativity, and methods of developing the actors themselves are now gaining increasing recognition.This book brings together Demidov’s five volumes on actor training. Supplementary materials, including transcriptions of Demidov’s classes, and notes and correspondence from the author make this the definitive collection on one of Russian theatre’s most important figures. Published by Routledge Press in 2016 it is 814 pages.

Meryl Meinsaft Cooper joins the Board

Meryl is a PR executive who specializes in promoting everything that makes life worth living —particularly art, food, wine, spirits, and travel. She’s a co-author of Be Your Own Best Publicist: How to Use PR Skills to Get Noticed Hired and Rewarded at Work and is a contributor to The Muse and Forbes. We are thrilled to announce that she joined MICHA’s Board of Directors this year and will be sharing her expertise with us as we look to our 20th anniversary.

CREATED TO CREATE

Congratulations to Mara Radulovic whose project Super Space is a weekly online platform used to empower and connect artists nationally and internationally. Featuring interviews from 52 artists over the course of 52 weeks, many of the interviewees engage the Chekhov work. 

Congratulations to our 2016
Teachers’ Certificate Awardees   

Suzanne Bennett from Sheridan College, Robert Homer Drummond from Anderson Univeristy Christine Hamel from Boston University, Margaret Kemp from the University of California Davis, Connie Rotunda from SUNY New Paltz and Wayne Robinson from Florida International University completed the requirements for a Teacher's Certificate of Completion. The above photo was taken at MICHA's IMCW closing night celebration.

ChekhovStudio Croatia

Congraulations to Suzana Nikolić, who opened a Michael Chekhov studio in Zagreb this September. Suzana is a performer, teaches with MICHA and is a full-time professor at the Academy of Dramatic Arts at the University of Zagreb where she teaches the Michael Chekhov Technique and voice and speech. She is also an artistic director of Michael Chekhov Europe.

Michael Chekhov School in Residence with MICHA

In the Summer of 2016 the Michael Chekhov School, Hudson was in residence at MICHA. The group worked independently each morning and shared a culminating performance on the final day of the workshop. Participants explored methods for rehearsing and devising new work utilizing the Chekhov work. Participants of the school included Joanna Merlin, Brent Carver, Danielle Carter, Anne Gottlieb, Bethany Caputo, Craig Mathers, John McManus, Gabriela Bonomo, Bernadette Wintsch-Heinen, Deb Keller, Gabriel Rodriguez and Martin D. Anderson. Some of these artists will gather again in Hudson, New York in the Summer of 2017 to continue their work together.
Poems on Acting
CLICK TO PLAY a series of poems & images, created by Martin D. Anderson,
featuring moments from the Michael Chekhov School's residency with MICHA.
IMCW 2016 Clockwise from top left: Students in the introductory group at MICHA's International Workshop; MICHA President Joanna Merlin and Managing Director Jessica Cerullo welcome everyone to the 17th annual International Workshop and Festival; Elsa Valentim traveled from Portugal to present her clown performance Julieta at the festival this year; and students from California State University's Summer Arts program (Photos: Scott Burrell, Summer Arts photo: Todd Sharp).

THEATER of the FUTURE  

Participants of MICHA’s 2016 “Theatre of the Future” Open Space event arrived in the Connecticut College Arboretum to find a large circle of chairs and a blank schedule for the weekend. Within the first hour of the event the roughly 40 participants took turns calling sessions until the schedule for the next two days was packed with a wide variety of topics to explore. This routine marks the beginning of all Open Space Events. Originated and developed by Harrison Owen, Open Space Technology provides an alternative to the traditional “conference.” It eliminates detailed pre-event planning and enables groups of all sizes to tackle complex issues in short periods of time. Each Open Space Event has a theme, and no agenda exists until the participants arrive and create one themselves. MICHA’s theme, “Theatre of the Future” allowed participants to spend two days identifying and engaging with questions about theatre that interested, worried, frustrated, or excited them all within the picturesque (and open) setting of the arboretum.

How can you have the law of two feet in an undergraduate program? Danielle Carter   
“I want to make theater” Making a MCS Commercial Gabriel Rodriguez   
Silence, Solitude, and Sharing Anne O’Keefe   
Creating a Theatre Company Mara Radulovic   
MC School “Poems” Martin Anderson   
What is Physically Funny? Dale March   
The Masks of Michael Chekhov and Jacques Lecoq Drew Richardson   
Falling in Love: Stage 1 of The Theatre of the Future Lisa Dalton   
Extending the Reach, Social Applications of MICHA and the Chekhov Work Nancy Vitulli   
Viewing and Discussion of the Film Flight Andrew Hawkins   
Anne Carson’s Antigonick Jessica Cerullo, Lauren Rekhelman & Roxanne Stathos   
Iron Butterflies Bethany Caputo & Connie Rotunda   
Theatre of the Future Open Space Australia Margot Fenley & Dale March   
Chekhov & the Puppet Emma Wade and John McManus   
The 4 Brains in the Chekhov Technique José Miguel Arbulu Servera   
Intro to Alba Emoting Michael Alban   
Exploring the Three Under the Tree Gianluca Reggiani   
Keeping the Fire Alive Bruna Mafra   
Super Space, artist interviews Mara Radulovic   
Exploring Text with New Tools Liz Stanton   
The Raven, The Skeleton, and The Shaman Peter Josephson   
A Film about Dick Latessa Ragnar Freidank   
Getting Lost Margot Fenley   
Editing Mr. Chekhov’s Words Responsibly Jessica Cerullo


You can read the reports for all the sessions HERE. Thanks to Phelim McDermott & our friends from Improbable Theatre (UK), MICHA's 2017 "Theater of the Future" became once again part of the Open Space Series "Devoted & Disgruntled" - conversations about the future of theater.

AN UPDATE FROM SOME OF OUR CHEKHOV FACULTY AROUND THE WORLD...

Joerg Andress/Michael Chekhov
International Academy (MCIA)

MCIA continues to offer an Intensive Training Program in creative development and teacher training in Berlin. In 2016 Joerg worked with musicians and singers from the Alfren Schnittke Akademie International and the Conservatory MenschMusik in Hamburg. A collaboration with Anna-Katharine Andrees, the artistic director of Centrum Für Bewegte Kunst, is underway to support ZBK’s work with individuals who have special needs.  In 2017, MCIA will incorporate workshops in speech training with Christiane Goerner and Eurythmy with Stefan Lenz. Joerg will return to the Gormanston Summeschool in Ireland to offer a Chekhov workshop as well as lead a host of other workshop throughout the year for actors, singers, musicians and artists committed to inclusive circus pedagogy and for teachers who wish to deepen their connection to the Chekhov work. Outside of MCIA, Joerg continues to work with Michael Tschechow Studio Berlin (MTSB) where he leads a variety of workshops and trainings.

Dawn Arnold/Chekhov Studio Chicago/Moving Dock Theatre Company, Illinois

We had a great year with a full schedule of classes and workshops in Chekhov Technique for professional actors and teachers in the greater Chicago area and those who visit us from out of town. Our students experience Chekhov training in weekly sessions in fall, winter, and spring, and intensive workshops in the summer. In class and in rehearsal, the expanded idea of the art of the actor inspires our efforts.

Our company’s project was our second edition, an all new production of The Anton Chekhov Book Club, an ensemble created work, adapting short stories of Anton Chekhov. The all-woman cast embraced the possibilities of imaginary body, playing all roles in seven stories new to us. Several actresses who had studied in our Studio all year joined us in the cast of the show, testing their new Chekhov abilities and bringing the Studio to Company dynamic full circle. Critical response from our performances in Chicago included recognition of our Chekhov-inspired process from Mary Shen Barnidge of the Windy City Times, “Anton isn’t the only Chekhov contributing to the evening’s enjoyment: The acting techniques formulated by his nephew, Michael Chekhov—chiefly its emphasis on body language as a tool for conveying character—are employed by director Dawn Arnold’s ensemble with an expertise rarely seen in our Meisner-dominated theater community, rendering each individual personae immediately recognizable after little more than a change of a vest or a shawl, with any cognitive obstruction arising from the cross-gender casting likewise quickly dissipating."

We gained new insights into how to rehearse along the lines Chekhov envisioned, and how to approach the adaptation and creation of a new theatre piece utilizing the ideas of Chekhov. It inspires the next phase of development for us artistically as we take this knowledge into our work going forward, for our endeavor is not just to produce a play, but to grasp more of the possibilities Chekhov has given us.

 

Jessica Cerullo, Washington

It has been a full year of teaching at Whitman College where I continue to investigate the Roy Hart approach to the voice and the Chekhov work both in the classroom, and in the rehearsal room. Notably, this occurred in our November production of Anne Carson’s AntigoNick, a translation of Sophocles’ Antigone. Our production was in final dress rehearsal on the eve of the United States Presidential election. In light of this, and inspired by Michael Chekhov’s thoughts on the role of theater in society coupled with the structure of Harrison Owen’s Open Space Technology, I guided the cast to facilitate post show dialogues on themes related to the play and the election. This spring I will be on sabbatical and will continue to develop the role of Pirate Jenny in Ethelyn Friend’s Wednesday: an opera and will perform in the premiere of Kristen Kosmas’ new play The Peoples Republic of Valerie at On the Boards in Seattle.

Scott Fielding/Michael Chekhov
Actors Studio Boston

2016 marked the start of our 7th season in Boston. MCASB continues to expand and prosper, with a full schedule of training five and six days a week throughout the year. Our flagship Program – The Chekhov Training – meets twice weekly for the nine-month course, as do our Meisner Foundation Training and Advanced Training Programs. Weekly classes include Advanced Scene Study, The Actor’s Instrument, Film Acting, Script Analysis and Audition Technique. Our annual six-week Summer Intensives for Chekhov and Meisner draws professional and student actors and teachers from the New England region and beyond. Some of the past year’s production highlights: MCASB collaborated with The Concord Academy under the direction of filmmaker Justin Bull to produce two short films, The Robbers and Comic Relief. Six MCASB actors had roles in major feature films, many more had prominent roles in local indie pics, and another dozen or more had roles in Boston theatre productions. In March, an ensemble of MCASB artists were Slam Boston winners at Boston Playwright’s Theatre for their production of a new comedy, Misfortune. Also this year, we proudly sent long-time MCASB actors back to school: Rafael Marinho to ART/Harvard, Emilie Stark-Menneg to Carnegie Mellon School of Art, and Francesca Sales to East 15 Acting School in Essex, UK. Another long-time student, Brandon Homer, is killing it in his second year at Juilliard. Lastly, our Chekhov-based master program is thriving now in its second year in Croatia. Our graduation production based on a novel by Paolo Coehlo will rehearse for four weeks this summer and premiere in Zagreb in autumn.

Ragnar Freidank, Ted Pugh and Fern Sloan/
Michael Chekhov School - Hudson, NY

2016 saw the second year of our new school, founded by Ted Pugh, Fern Sloan and Ragnar Freidank, with generous support from MICHA colleagues, including Jessica Cerullo and Joanna Merlin, who have been teaching for our school. Some Highlights for us from the past year were 1) Our 3-week Summer Intensive in Hudson, followed by a 1-week Residency at MICHA during the annual workshop in New London, CT. Ted and Fern call the past summer: “A dream come true. We worked intensively with a group of actors who have been with the Michael Chekhov work for many years. A real highlight was to share our last class with long-standing MICHA participants as a culmination of our work over the summer.” 2) The publication of Bernadette Wintsch-Heinen’s booklet: “My experience at the Michael Chekhov School”, translated by Ragnar, designed by Gabriela Bonomo and edited by Gabriela, Ted and Martin D. Anderson. 3) The expansion of our video-blog with reflections, discussions, and updates from our faculty and guests and the launching of our Podcast-Series, hosted by Ragnar. Our first episodes feature conversations with Brent Carver, Danielle Carter, Fern Sloan and Jessica Cerullo.

As we look ahead, the core of our school will be our Spring Immersion; 5 weeks of study that focus on the mastery of the Chekhov Technique from April 18 - May 25. Limited to 12 actors, we still have some spaces open. We will also be offering Michael Chekhov weekend intensives, working with Poetry, Shakespeare, and “Choices - The Actor’s Dilemma” (with Bethany Caputo). If you have a theme you have always wanted to work with, let us know! Starting February, the Michael Chekhov School is offering a 
Scene Study Class in NYC taught by Ragnar. And, once again this summer, we will continue to work with actors from last year to explore new ways of working with ensemble-based scene-work and approaches to rehearsing and creating inspired by Michael Chekhov. Finally, we are pleased to announce that Ted and Fern are writing a book in collaboration with actress and author Danielle Carter. We invite you to contribute any questions you would like to see included in the book through our website.

Dale March, Australia

It has been a roller coaster year and more than ever before I have found Chekhov’s insights carrying me through the challenges of “life outside the theatre.” It is hard to admit, but sometimes the most challenging place for me to share the most generous version of myself, is at home. The journey of traveling through life as an artist tips into a new dimension when engaging with the realities of parenting. I can honestly say that expansion has become my most cherished weapon against the attack of fear. Fear in all its forms sneaks in and grips the mind and heart with contracted tension. Breathing into expansion reminds me to soften back into theatre’s greatest gift: the power to connect us once more to ourselves and others. The State Theatre Company of South Australia has formed an Ensemble Company under the directorship of Geordie Brookman for 2017 and 2018. We will begin our  journey with Ibsen’s A Doll’s House in May, 2017 and I will play Helmer.

Craig Mathers, Boston

In addition to teaching at Emerson College, I will play the husband in Sarah Ruehl's play Stage Kiss at the Lyric Stage in Boston in March.

Joanna Merlin, New York

My auditioning book, Auditioning, an Actor-Friendly Guide, in print since 2001, was launched in Madrid in April, where it was published in a Spanish translation.  Ragnar filmed a video of me introducing the book which was shown in Madrid and Barcelona. The book will also be distributed to South America. In addition to teaching with MICHA, I taught at NYU Grad Acting all year, and coached a production of Seagull. I filmed an interview for a documentary in the making on "Fiddler on the Roof" about  my experience in being in the original cast. I was interviewed for Behind the Curtain: Broadway Living Legends and a documentary called "The Best Worst Thing That Ever Could Have Happened" about the casting and production of Sondheim's "Merrily We Roll Along", which I cast 35 years ago, opened at the NY Film Festival and has just been released in theaters.
 

Ulrich Meyer-Horsch/
Chekhov International School Hamburg

The part-time school is hosted by Schule für Schauspiel and Michael Chekhov Studio Hamburg. The main course covers the whole technique in 6 modules, following the Michael Chekhov Europe Training program. Every March and October the doors open for the international spring and autumn school. There is also a 6-month full-time course and a series of special workshops.

International faculty comes from Germany, Russia, Israel, the US and Europe, and has included David Zinder, Suzana Nikolic, Olivia Rüdinger, Lenard Petit, Anne Gottlieb, Wladimir Tarasjanz, among others. Participants come from Austria, Switzerland, Germany, Croatia, Slovenia, Denmark, the Netherlands, Finland, the UK, Ireland, Russia, Turkey, Spain, Italy, France, and the US. The school’s partner-studio is StudioChekhov Croatia in Zagreb.

Suzana Nikolic, Ulrich Meyer-Horsch, Jesper Michelsen/Michael Chekhov Europe Training

MCE-Training has intensified its teaching and directing in Istanbul and Izmir, Turkey, facing a country torn apart in violence and fear. The Chekhov work seems to be most needed in times like this.
In 2017 the MCE-Training program will also be taught at StudioChekhov Croatia (Zagreb), Chekhov International School Hamburg (Germany), and in Vienna, Rome, Tel Aviv, Vilnius, and Groznjan. A new 3-year collaboration with Taipei Theatre Lab to create an ongoing training for Taiwan and East Asia, has just started.

Hugh O'Gorman, Los Angeles

In addition to teaching at California State University in Long Beach, I continue to offer classes at my Praxis Acting Studio. I am serving as the co-chair of The National Alliance of Acting Teachers and in October, the Athens Journal of Humanities and Arts published his article Konstantin Stanislavksi's 'Event Analysis'.

2016 WORKSHOP PARTICIPANTS

Teacher Training Workshop
Florida International University
Miami, Florida January 4-7, 2016

Monica Abrue, Rebecca Covey, Lisa Dalton, Amber DuPuy, Ilene Fins, Anderson Freitas, Jeffrey Glickman, Anne Gottlieb, James Haffner, Reyes Hiraldo, Mayumi Horiuchi, Rebecca Joy, T’Keyah Crystal Keymah, Paula Macchi, Allyn Moriyon, Juanita Olivo, Melissa Owens, Richard Park, Caroline Price, Janet Raskin, Lisset Riera, Wayne Robinson, Julian Stetkeyvych, Jeff Thomakos, Jana Tift, Cindy Totten  
Observer/Partial Attendance: Aaron Alpern, Matthew Glass
Transcribers/Interns: Roselyn Moreno, Reggie Abril  
Faculty: Joanna Merlin, Fern Sloan, John McManus

Advanced Teacher Training Intensive
Hudson, NY May 19-22, 2016

Joerg Andrees, Anna-Katherina Andrees, Kristi Dana-Funk,Robert Homer-Drumond, Drew Richardson, Connie Rotunda
Observer/Partial Attendance: Martin Anderson, Yuan-Rong Laio, Travis Clark Morris, Val Kissel
Faculty: Ragnar Freidank, Ted Pugh, Fern Sloan

International Workshop and Festival
Connecticut College - New London, CT

June 26-July 2, 2016

General Track: Andrew Hawkins, Anne O’Keeffe, Anne Towns, Bruna Mafra, Carolyn Goelzer, Charles Alexanderm David Anderson, Denise Chapman, Drew Richardson, Elsa Valentim, Emma Feinberg, Anne O’Keeffe, Anne Towns, Bruna Mafra, Carolyn Goelzer, Charles Alexander, David Anderson, Denise Chapman, Drew Richardson, Elsa Valentim, Emma Feinberg, Emma Wade, Emma Wade, Gianluca Reggiani, Gillian MacKay, Grant Chapman, Gregory Allen, John Kaufman, Juanita Rodrigues, Kara Jonsson, Lauren Rekhelman, Liz Stanton, Margaret Kemp, Margot Fenley, Matthew Ellenwood, Mattie Barber-Bockelman, Mayumi Horiuchi, Melanie Menendez, Michael Alban, Nancy Vitulli, Paula Macchi, Ray Caspio, Roxan Stathos, Samuel Kellman, Sebastian Arboleda, T’Keyah Crystal Keymah, Tim Dugan, Tracy Donohue, Yuan-rong Liao
Rehearsal Track: Christine Hamel Woodberry, Connie Rotunda, James Haffner, Jose Miguel Arbulu Servera, K.D. Guadagno, Kenneth Baltin, Lionel Walsh, Mani Wintsch, Mara Radulovic, Naomi Bailis, Natalie Robichaux, Peggy Coffey, Peter Josephson, Rena Polley, Scott Burrell, Suzanne Bennett
Michael Chekhov School: Bernadette Wintsch-Heinen, Bethany Caputo, Brent Carver, Craig Mathers, Danielle Carter, Deb Keller, Gabriela Bonomo, Gabriel Rodriguez, John McManus, Martin Anderson
Observers: Rebecca Joy, Peter Tedesci, David Zurak, Deborah Leah Garren, Lisa Dalton, Lenka Pichlikova, Yana Meerzon
Faculty: Joanna Merlin, Ragnar Freidank, Ted Pugh, Jessica Cerullo, Fern Sloan, Lenard Petit, Hugh O’Gorman, Anne Gottlieb, Dale March

Theater of the Future/Open Space
Conn College July 2-3, 2016

 

Fern Sloan, Dale March, Maya Kozarsky, Lauren Rekhelman, Emma Wade, Gabriel Rodriguez, K.D. Guadagno, Kara Jonsson, Lisa Kerman-Dalton, Anne Gottlieb, Margot Fenley, Anne O’Keeffe, Ragnar Freidank, Anne Towns, Peter Josephson, Deborah Keller, John McManus, Mara Radulovic, Drew Richardson, Connie Rotunda, Liz Stanton, Roxanne Stathos, Rebecca, Joy, Jessica Cerullo, D.L. Garren, Hugh O’Gorman, Joanna Merlin, Ted Pugh, Craig Mathers, Martin Anderson, Jose Miguel, Arbulu Servera, Mattie Barber-Bockelman, Gabriela Bonomo, Bethany Caputo, Danielle Carter, Andrew Hawkins, Mayumi Horiuchi, Michael Alban, Tom Brown, Gianluca Reggiani, Michael Hoy, Nancy Vitulli, Peter Tedesci, Bruna Mafra, Bart Hansard
Visions in Motion
Jose Hernandez’ short film documents the two-weeks of intensive training. Thanks to the efforts of Hugh O'Gorman and California State University, MICHA has enjoyed the privilege of teaching at SUMMER ARTS four times over the last decade.

California State University Summer Arts
July 11–July 24, 2016

Claire Ando, Michael Ashby, Brian Avant, Bruce Avery, Samantha Avila, Ethan Barrales, Amandla Bearden, Anh Tai Bercher, Christopher Berg, Amber Brice, Emily Bruning, Becka Cole, Vanessa Cortez, Stephen Diaz, Christine Dillard, Kevin Djepang, Brianna Dodson, Evan Favela, Isabella Gadsby-Connick, Melvin Hampton, Robert Hart, Anthony Hernandez, Jose Hernandez, Asialani Holman, Kassie Howard, Regina Lewis, Augusta Mariano, Emanuel Morales, Kenneth Nauta Jr., Lana Palmer, Hilda Stacey Patino, Rafael Piazza, Alexis Pokorny, Moriah Quinn, Max Seijas, Tiffany Smith, Jarret Spiler, Robert Wang, Lena White.  
Teaching and Directing Team: Jessica Cerullo, Joanna Merlin, Camille Litalien, Hugh O’ Gorman, Séamus Maynard, Craig Mathers, Ragnar Freidank.
[Summer Arts images photo credit Todd Sharp]
Copyright © *2016* *MICHA, the Michael Chekhov Association|*, All rights reserved.
MICHA photographer, Scott Burrell
Contributors: Jessica Cerullo, Ragnar Freidank, Joanna Merlin, Lauren Rekhelman, Rebecca Rich

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PO Box 178 Hudson, New York 12534

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