Teaching

Sinéad teaches workshops in both the Michael Chekhov technique and Meyerhold’s Biomechanics. Get in touch via the contacts page if you would like to join the mailing list, or to request a workshop.

She has recently been exploring the idea of the audience, and how the actor can find greater vocal and physical presence in performance by taking account of the audience.

about Michael Chekhov Technique

The Michael Chekhov technique is a psycho-physical approach to acting. It privileges the imagination as the actor’s source of inspiration and favours an impersonal, objective approach to characterisation. The work is intended to create a real and spontaneous connection between the actor’s physical body and psychology and prepare the actor for what Chekhov calls ‘inspired acting.’

Michael Chekhov (1891–1955) was the nephew of Anton Chekhov and considered by Stanislavsky as his ‘most brilliant pupil.’ He was known as one of Russia’s most outstanding and innovative actors. After his exile from Russia, he worked in Germany, France and England’s Dartington Hall before settling in USA where he worked as an actor and acting coach in Hollywood.

Sinéad has studied the technique with Sergey Issayev (GITIS, Russia & University of Paris 8-St.Denis), Sarah Kane and Graham Dixon (Michael Chekhov Studio, London), Lenard Petit (Michael Chekhov Acting Studio, New York), Joanna Merlin and Fern Sloan (MICHA, Galway) and Jobst Langhans (Michael Chekhov Studio, Berlin). She teaches the technique to undergraduates on the three year Acting Programme at Central School of Speech and Drama in London.

Please get in touch via the contacts page if you are interested in organising a workshop or classes for actors, dancers, directors, teachers, designers.

Meyerhold’s Theatrical Biomechanics

Biomechanics is a rigorous physical training for actors created by the Russian director Vsevolod Meyerhold (1874-1940). The method is designed to forge the connection between the performer’s mind and body, ‘to teach the body to think.’ The goal of training in Biomechanics is the harmonious development and integration of all aspects of the actor’s psycho-physical being: kinaesthetic, spatial and relational. Meyerhold maintains that the actor should be like a coiled spring, always ready to spring.

Meyerhold, a renowned actor and director with the Moscow Art Theatre, regarded movement, gesture, space and rhythm, as the primary elements of the ‘language of theatre.’ He dreamed of retheatricalizing the theatre, of creating a theatre that would give its audience truthful images of life but that wouldn’t seek to imitate or copy life, a theatre capable of revealing ‘inner dialogue by means of the music of plastic movement.’ Meyerhold’s work over three decades resulted in his system of Theatrical Biomechanics.

Sinéad trained with Nicolai Karpov (GITIS & University of Paris VIII-Saint Denis), Kathleen Baum (O’Neill Theatre Centre, USA) and Gennadi Bogdanov (Talia Theatre, Manchester & International Centre of Biomechanics, Perugia, Italy). Sinéad was awarded a commission from the Chisenhale Dance Space in December 2004 to curate a workshop for actors and dancers in Meyerhold’s Theatrical Biomechanics. She invited Kathleen Baum, a leading teacher from the Eugene O’Neill Theatre Institute in USA to teach the technique.

Sinéad teaches the technique to undergraduates on the three year Acting Programme at Central School of Speech and Drama in London.