Playing in the Creative State: Michael Chekhov and Piano Performance in dialogue
Doctoral project at Sibelius Academy, The University of the Arts Helsinki
Propelled by questions about how musicians within the domain of Western Classical Music may enliven their engagement with repertoire and develop a practice of creative freedom and imaginative play, this work investigates the application of the psychophysical acting technique of Michael Chekhov (1891–1955) to pianistic practice and to music performance more broadly. It utilises embodied research methods and reflective analysis to examine the ways in which a Chekhovian approach may awaken the musician’s embodied experience of movement, develop the imagination, and open the door to a ‘creative state’ for music-making characterised by freedom, play, and connection to the present moment. Utilising Rautavaara’s Sonata No. 2 The Fire Sermon as a case study, this work examines the potential of the Chekhov technique to guide and synthesise the creative process of preparing repertoire for performance. Taking a broader view, this work situates Chekhov within understandings emerging from music performance and creativity studies and reconceptualises music performance to reflect the integral role of the imaginatively embodied musician.
Access the thesis here:
https://taju.uniarts.fi/handle/10024/7697
VIDEO EXAMPLES
The following videos are referenced in the thesis:
CHAPTER 1
1.1 Excerpt from György Sebők documentary
CHAPTER 2
2.1 Beethoven: Bagatelle Op. 126 No. 1 (excerpt)
2.2 Beethoven: Bagatelle Op. 126 No. 2 (beginning)
2.3 Rautavaara: Närböläisten braa speli (from Pelimannit)
2.4 Rautavaara: Kopsin Jonas (from Pelimannit)
2.5 Sibelius: Kyllikki (beginning)
2.6 Ravel: Oiseaux tristes (from Miroirs)
CHAPTER 3