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Analyzing Diagrams Using the Five Aggregates: Michael Chekhov’s Inspired Acting |
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| รหัสดีโอไอ | |
| Creator | Weerabhat Boonma |
| Title | Analyzing Diagrams Using the Five Aggregates: Michael Chekhov’s Inspired Acting |
| Publisher | Mahasarakham University |
| Publication Year | 2569 |
| Journal Title | Journal of Humanities and Social Sciences Mahasarakham University |
| Journal Vol. | 45 |
| Journal No. | 2 |
| Page no. | 532-546 |
| Keyword | Michael Chekhov, Five Aggregates (Khandha), Acting, Theatre |
| URL Website | https://so03.tci-thaijo.org/index.php/humsujournal |
| Website title | Journal of Humanities and Social Sciences Mahasarakham University |
| ISSN | 2672-9733 (Online) |
| Abstract | This analytical article, “Analyzing Inspired Acting through the Five Aggregates: Michael Chekhov’s Acting Diagram,” aims to conduct a comparative analysis of the two concepts in order to examine which of the Five Aggregates (Khandha) are most emphasized in Chekhov’s acting exercises. The results show that all 18 exercise topics can be categorized into the Five Aggregates. Rupa (matter) includes five topics: (1) Composition, (2) Feeling of Form, (3) Feeling of the Whole, (4) Body (psychophysical exercises), and (5) Psychological Gesture. Vedana (feeling) comprises two topics: (1) Feeling of Ease and (2) Quality (sensations and feelings). Sanna (perception) includes four topics: (1) Feeling of Styles, (2) Feeling of Truth, (3) Feeling of Beauty, and (4) Atmosphere. Sankhara (mental formations) consists of five topics: (1) Characterization, (2) Imagination, (3) Improvisation, (4) Objectives, and (5) Radiate and Receive. Vinnana (consciousness) comprises two topics: (1) Ensemble and (2) Focal Point. The comparative analysis reveals that Chekhov’s acting exercises place equal emphasis on the training related to Rupa and Sankhara. This demonstrates Michael Chekhov’s brilliance in employing physicalization to address performance challenges related to interpreting and visualizing a play. |
