Abstract
Actor, director and acting teacher Elena Stejko discusses with Hilary Halba her teaching of the Michael Chekhov technique in Aotearoa. Although his approach draws in part on that of his teacher, Stanislavsky, Chekhov's work diverged in key ways. Stejko emphasises that Chekhov focused on both spirituality but also playfulness - the very playfulness that saw him criticised by Stanislavsky. Chekhov's experienced a spiritual turmoil in 1919 led him to explore Rudolf Steiner's spiritual science in a way that would profoundly influence his approach to and understanding of acting. Despite having very few students in initial classes outside his native Russia, Michael Chekhov's acting methodology has been extensively studied and performed globally and remains an important international touchstone for creativity and innovation in the actor.