Acting Skill Development in Terms Of Portraying A Chinese Woman Character In Leading Role Of Chin Woon Ping’s Details Cannot Body Wants Through Michael Chekhov Technique

Main Article Content

กุนทรา ไชยชาญ

Abstract

Culture affects thoughts and behavior of people in the society and it shapes the identity of each nation to be particular and unique. The researcher observes that differences in social context and culture may be an obstacle for an actor to deeply understand the character whose culture and background are different from the actor’s. Therefore, the researcher became highly interested in studying the method of how to approach a character from different social and cultural background.


Chinese culture is one of the highly influential cultures in Asia. It is so powerful that it affects thoughts and behavior of people in the society, especially women. The researcher, hence, selected Chinese culture to be a case study through the performance of Details Cannot Body Wants that reflects the issue of women of Chinese descents being upheld by certain attitudes and values, which still rings true to how these women are supposed to live in present time Asia. The method selected here is to approach the character who, despite sharing similar physical traits and social environment, has different feelings and expressions at different level of intensity towards suppression from culture.


The researcher selected the acting method of Michael Chekhov who emphasizes on using imagination to build a character with unique identity by combining the work of mind and body to genuinely become a character from within to approach a character. The researcher believes that this acting principle from Michael Chekhov will help the researcher as an actress to approach a female Chinese character whose culture affects her complex thoughts and behaviors.

Downloads

Download data is not yet available.

Article Details

Section
Performing arts

References

ภาษาอังกฤษ
Ahmad, N. (2005) The first R-rated play. Retrieved June 18, 2018. From
http://eresources.nlb.gov.sg/infopedia/articles/SIP_53_2005-02-02.html
Arnott, P. D. (1959). An introduction to the Greek theatre. London: Macmillan Press Ltd.
Ashperger, C. (2007). Michael Chekhov’s Acting Technique in Contemporary Pedagogy and Practice (Doctoral dissertation). Canada: University of Toronto.
Beauvoir, S.D. (1956) The Second Sex. 2 ed. (pp.273-277). London: Lowe and Brydone (Printers) Ltd.
Chekhov, M, and Gordon, M. (1991) On the Technique of Acting. New York: HarperCollins.
Petit, L. (2010) The Michael Chekhov Handbook: for the Actor. New York: Routledge.
Simão, L. (2015) “Culture as a Moving Symbolic Border.” Integrative Psychological and Behavioral Science, vol. 50, no. 1, pp. 5. doi:10.1007/s12124-015-9322-6.
Suzuki, T. (2003) The Way of Acting. USA: Theatre Communications Group.
Thulaja, N.R. (2004) Film classification guidelines – Restricted (Artistic) category. Retrieved May 16, 2019. From
http://eresources.nlb.gov.sg/infopedia/articles/SIP_15_2004-12-27.html
Woon Ping, C. (1993) The Naturalization of Camellia Song. (pp.118). Singapore: Times Book International.

ภาษาไทย
นพมาส แววหงส์ (2558). “องค์ประกอบของบทละคร.” ใน ปริทัศน์ศิลปการละคร, (น.3). กรุงเทพมหานคร: โครงการเผยแพร่
ผลงานวิชาการ คณะอักษรศาสตร์ จุฬาลงกรณ์มหาวิทยาลัย.
สุชาดา ทวีสิทธิ์. (2550) “ผู้หญิง ผู้ชาย เพศวิถี: เพศภาวะศึกษาในงานมานุษยวิทยา.” วารสารสังคมศาสตร์ คณะสังคมศาสตร์
มหาวิทยาลัยเชียงใหม่, ปีที่ 19, ฉบับที่ 1, (น.5). เชียงใหม่.