In our modern theatre TIME is one of our greatest challenge. Contemporary rehearsals need techniques which are immediate and understandable.
Using an abridged version of Chekhov's THE CHERRY ORCHARD, Oyston reveals how directors and actors can apply the techniques of Stanislavski and develop them to suit contemporary theatre schedules and restrictions.
Part 1 shows how a number of rehearsal techniques - when combined - provide a depth of character and confidence for the actor, director and drama teacher.
Oyston demonstrates the specific effect of using the STANISLAVSKI SYSTEM in a particular way: Units of action- emotional memory, Subtext- Rhythm Tempo, Physical Actions- Circles of Concentration, Objectives- Super objectives, Continuous line of life.
Then he adds modern techniques of his own which have been borrowed and developed over many years as an actor, director, and teacher: Imaging- Pitch Tempo, The river- Ensemble playing, Voice release to images with onomatopoeia - colour - cause and effect. Major focus- minor focus, Entrances and exits.
In Part 2, Peter Oyston takes a group of young acting students through an abridged version of Chekhov's famous play to reveal the essence of Chekhov's style. Chekhov intended the CHERRY ORCHARD to be a comedy not a tragedy - in fact he argued with Stanislavski after its first production at the Moscow Arts Theatre in the early 1900s. Stanislavski produced it as a tragedy.
The key element to watch is that all Chekhov's characters are self obsessed. They take themselves very seriously indeed. Thus, when they play using Stanislavski's and Oyston's techniques they appear often both sad and funny. This is Chekhov's gift to our culture.