Open House – Chekhov Technique: Objects and Acting with Cass Fleming

Time: 2.00-5.00pm | Location: Goldsmiths, London

This workshop explored Chekhov’s extensive work using real and imagined objects and forms as catalysts to powerful characterisation and performance.  The session also drew on the experiments that Chekhov carried out at Dartington Hall with real objects and natural forms.  The session explored Chekhov’s Stick, Ball, Veil exercise, the use of real objects as Imaginary Centres and visualised objects and forms.  Our Open House workshops are open to complete beginners and those with experience of Chekhov Technique.

Cass  has used Chekhov Technique in her directorial work, and her training of directors, since 1998.  She has trained actors, directors, choreographers, devised theatre makers and scenographers in the use of Chekhov Technique at Goldsmiths, University of London, the Royal Central School of Speech and Drama, Rose Bruford Drama School, E15 Acting School and the University of Kent.  She has also trained directors in the use of Chekhov Technique in professional contexts such as the Royal National Theatre Studio, the Young Vic Theatre Directors’ Programme and with the Chekhov Collective.  Cass also draws on the techniques developed by Suzanne Bing and her collaborators in France, and number of other directing and making methods.  She is a specialist in the use of play in training, making and directing performance.  Her PhD explores Chekhov Technique and its use in directing and she has presented various papers on many aspects of Chekhov’s practice over the past 15 years.  Cass was co-lead researcher on the long-term and cross-institutional practice research project that led to the publication of Michael Chekhov in the Twenty First Century: New Pathways, which she co-edited with Tom Cornford (Bloomsbury 2020).  She contributed three chapters for this book, including one that addressed the use of the technique for directing and devising theatre.

In addition to her work with Chekhov Technique Cass has also been exploring and researching the work of the French actor, director and actor-trainer Suzanne Bing since 1998 and has shared her research widely since that time (2008, 2013, 2014, 2020).  She has also collaborated with Mark Evans on the work of Jacques Copeau and Bing’s contribution to his practice (2018).  Cass also has a long-standing interest in developing non-canonical approaches to, and histories of, actor training and she conceived a special edition of the Theatre, Dance and Performance Training journal entitled ‘Against the Canon’ (11:3) which she co-edited with Mark Evans and Sara Reed (Routledge, 2020).