CHUBBUCK TECHNIQUE THE 12 TOOLS CHECKLIST
OVERALL OBJECTIVE: What does your character want from life more than anything? Finding what your character wants throughout the entire script.
SCENE OBJECTIVE: What your character wants over the course of an entire scene, which supports the character’s OVERALL OBJECTIVE.
OBSTACLES: Determining the physical, emotional and mental hurdles that make it difficult for your character to achieve his or her OVERALL and SCENE OBJECTIVE.
SUBSTITUTIONS: Endowing the other actor in the scene with a person from your real life that makes sense to your OVERALL OBJECTIVE and your SCENE OBJECTIVE. For instance, if your character’s SCENE OBJECTIVE is “to get you to love me,” then you find someone from your present life that really makes you need that love – urgently, desperately and completely. This way you have all the diverse layers that a real need from a real person will give you.
INNER OBJECTS: The pictures you see in your mind when speaking or hearing about a person, place, thing or event.
BEATS and ACTIONS: A BEAT is a thought. Every time there’s a change in thought or tactic, there’s a BEAT change. ACTIONS are the mini-OBJECTIVES that are attached to each BEAT that support the SCENE OBJECTIVE and, therefore, the OVERALL OBJECTIVE.
MOMENT BEFORE: The event that happens before you begin the scene (or before the director yells, “Action!”), which gives you a place to move from, both physically and emotionally. MOMENT BEFORE is the event (re-imagined in your thoughts) that gives you the urgency to get your SCENE OBJECTIVE.
PLACE AND FOURTH WALL: Using PLACE and FOURTH WALL means that you endow your character’s physical reality – which, in most cases, is realized on a stage, soundstage, set, classroom or on location – with attribrutes from a PLACE from your real life. Using PLACE and the FOURTH WALL creates privacy, intimacy, history, meaning, safety and reality. The PLACE/FOURTH WALL must support and make sense with the choices you’ve made for the other tools.
DOINGS: The handling of props, which produces behavior. Brushing your hair while speaking, tying your shoes, drinking eating, using a knife to chop, etc. are examples of doings. The act of using DOINGS tells us what you are really thinking and feeling. Remember, words can lie, behavior never does!
INNER MONOLOGUE: The dialogue that’s going on inside your head that you don’t speak out loud because it’s vulgar, too revealing, not politically correct, ineffective, and exposing second guessing/insecurities. Dialogue, that can’t be spoken aloud because it would defeat your purpose/OBJECTIVE.
PREVIOUS CIRCUMSTANCES: Your character’s history. The accumulation of life experiences that determines why and how they operate in the world. And then personalizing the character’s PREVIOUS CIRCUMSTANCES to that of your own so you can truly and soulfully understand the character’s behavior and become and live the role. Remember: it is your past that establishes your present life choices, and how you currently negotiate life.
LET IT GO: While the Chubbuck Technique does use an actor’s intellect, it is not a set of intellectual exercises. This technique is the way to create human behavior so real that it produces the grittiness, textures, layers and rawness of becoming a true human being – to live a role, not perform it. In order for you to duplicate the natural flow of life and be spontaneous, you have to get out of your head. To achieve this you have to trust the work you’ve done with the previous eleven tools, and LET IT GO. (THIS IS A VERY IMPORTANT STEP!)
Marcin Zarzeczny in Supernova, dir. Bartosz Kruhlik
Day 1st 2pm-9pm Day 2nd 2pm-9pm
Registration till August 15
Tickets 5000 KC / early birds 4200 KC till 25 July/ 10 spots/
observers 2000 KC
Digifoto Pavlova, Sokolská 35, Praha 2 - centrum Prahy
The Chubbuck Technique workshop is designed for actors who lack self-belief, lack the necessary tools to explore their potential, and have difficulty applying it to their roles. This workshop is also for individuals who lack the technique to confidently execute their acting work, feel well-prepared for it, and collaborate effectively with the director. Additionally, this workshop is beneficial for successful actors who seek to enhance their skills with additional tools.
For years, I struggled to feel like a confident actor without the right tools. It was easy to understand roles that came naturally to me, but challenging when my intuition fell silent. I searched for years for a method that would help me analyze characters, prepare for scenes, and arrive on set with a wealth of suggestions, whether I had a small or large role. Three years ago, I discovered Ivana Chubbuck's Technique, which equipped me with the tools to enjoy acting work, from preparation to execution. Now, I'm proud of my work and can work effectively with directors with mutual pleasure.
When it comes to workshops, I personally find it most effective to work in small groups. This is because it allows each participant to gain a thorough understanding of the Method's steps.
If you need more info, whatsapp me:
00 48 504 155 237
(Supernova - dir. B. Kruhlik/Canal+, Studio Munk, Klangor/Canal+, My Debt - cinema film, M jak Miłość, author of the monodrama "Confessions of a jobless actor" which was played more than a hundred times in Poland, Germany, Iceland, India, and Iran, winner of acting awards in Poland, Germany, and Albania)
Workshopy o Chubbuck technice jsou určeny hercům, kteří si nevěří nebo neznají nástroje, které jim dovolí, objevit svůj potenciál a dokázat ho využít pro roli.
Pro ty, kteří nemají techniku, aby opravdu věděli, co dělat krok za krokem, aby si byli jisti svou hereckou prací a cítili se, že jsou na roli i na spolupráci s režisérem opravdu dobře připraveni.
Konečně pro ty, kteří jsou skvělí v herectví, ale chtějí se naučit více nástrojů, aby jejich práce byla ještě lepší.
Dlouhá léta jsem sám neměl nástroje, abych se cítil jako silný herec. Bylo to relativně snadné, když došlo na hraní rolí, kterým jsem intuitivně porozuměl. Ale bylo to těžké, když intuice mlčela. Několik let jsem hledal metodu, díky které bych věděl, co mám dělat, od analýzy postav až po potěšení z hraní dané scény, že půjdu na scénu dobře připravený s hromadou návrhů, bez ohledu na to, zda budu hrát malý štěk nebo větší roli. A před téměř třemi lety jsem narazil na techniku Ivany Chubbuck, která mi dala nástroje k tomu, abych si hraní užil od přípravy role až po její realizaci. Naučil jsem se jak být na svou práci hrdý a efektivně a s vzájemnou radostí spolupracovat s režiséry.
Během workshopů preferuji práci v malých skupinách, protože chci, aby každý účastník co nejvíce porozuměl jednotlivým krokům Metody.
(Supernova - r. B. Kruhlik/ Canal+, Munkovo studio, Klangor/Canal+, Můj dluh - kinofilm, M jak Miłość, autor více než stokrát hraného monodramatu "Zpovědi nezaměstnaného herce" v Polsku, Německu, Islandu , Indie a Írán, vítěz hereckých cen v Polsku, Německu a Albánii)
#couachingherectvi #herectvi #herec #film #herecka #onset #casting #warszawa #zesilenipresumeni #chubbuckpoland #ajedobre
Chubbuck’s Technique was constructed by one of the most wanted Hollywood acting coach - Ivana Chubbuck. She had developed her own process, which builds on teaching traditions that stretch back to Stanislavski and infuses them with current advances in behavioral science and psychology. Many actresses and actors have succeeded thanks to Chubbuck’s Technique (e.g. Brad Pitt, Charlize Theron, Travis Fimmel, Jared Leto, Jake Gyllenhaal, James Franco, Thure Lindhardt and many more). Ivana had prepared Halle Berry to a lead role in „Monster's Ball”. For this part, Berry have won Best Actress at the Academy Awards.
Ivana use to say that characters who try to change their lifes, who has resilience in the face of adversity are those who give us hope for changes. She teaches how to create dynamic, vivid individuals. With their sensibility, one-of-a-kind affectations and way of thinking they will do everything possible to achieve the life sense. This process of overcoming obstacles and meeting the needs of change is already winning. That’s the difference between the Chubbuck Technique and those developed in the past - we teach actors how to use their emotions not as an end result, but as a way to empower a goal. This technique teaches actors how to win. It allows you to create characters who are looking for their strength, and when they find it, they experience catharsis.
„Every actor knows that discovering and understanding your personal pain is an inherent part of the acting process. This has been true since Stanislavski. The difference between the Chubbuck Technique and other methods is in proactivity. The most important thing in acting are not emotions but the need to win the goal assumed in the scene. We teach actors how to use their emotions not as an end result, but as a way to empower a goal”
Workshop in Prague 31 August - 1 September
registration till June 11: firstname.lastname@example.org
Bank account details:
Company name: Centrum Rozwoju Artystycznego Marcin Zarzeczny
36 1140 2004 0000 3212 1916 3323 mBank
Transfer title: Workshop Prague
Chodźcie, fajnie jest