On Imagination In The Michael Chekhov’s Creative Method

Michael Chekhov was once hailed as one of the most talented actors of the twentieth century.Michael Chekhov created a set of imagination-centered performance methods based on the Stanislavsky system.He advocated combining the actor’s imagination with the body to stimulate the actor’s psychological feelings and inner creative potential.Around the imagination,a series of creative techniques such as "mental posture","imagined body and center","high-level self" and "atmosphere" are proposed to help actors combine their creative personality and achieve a creative state in performance.The formation and development of Michael Chekhov’s performance method is influenced by many factors,such as anthroposophy,Indian yoga school,Stanislavsky and Vakhtangov’s concept of performance,and this performance method has been systematically and systematically adopted in British and American countries.Mature development,but still not popularized in the field of drama creation in our country.Michael Chekhov developed Steney’s "emotional memory" method in a brand-new way of creation,which can play a very good reference role in the current drama creation environment in our country,and provide a set of practices for the actor’s character creation.effective creative method.This paper takes Michael Chekhov’s creative method as the research object,briefly summarizes and expounds the formation,development and core content of his theory,and uses the literature research method to analyze and discuss the specific application of imagination,and on this basis This paper explores the scientific feasibility and limitations of Michael Chekhov’s creative method through creative practice,combined with Stanislavsky’s theatrical creation theory and the imagination of Michael Chekhov’s creative method in my country’s current drama creation Identify and analyze the importance of imagination in performance creation,so as to expand drama creators’ re-understanding of character creation methods,and continuously inject new impetus into the development of drama creation practice and theory.