My research investigates the intersections between theatrical approaches to embodiment (with particular focus on Michael Chekhov’s psychophysical acting methodology) and music performance. This investigation is placed in dialogue with current research in the field of music performance studies, in which
the role of the performer in the life of a musical work is increasingly being understood as that of active creative agent. Recent research in the field has pointed to possibilities for creative collaboration extending
beyond the interactions that occur between performers to include invisible collaboration, eg. between musician and instrument. By applying Chekhov’s embodiment work to music performance, I expand this
notion of music performance as collaboration, exploring how seemingly intangible modes of collaboration can become tangible, rich sources for creativity in performance.
For this portfolio, pianistic colour (i.e., the ways in which musical texture and timbre resonate to create atmosphere) was selected as a lens through which to address the overarching inquiry. This lens highlights synergies between Chekhov and music performance, as the creation of colour is tied to the performer’s
capacity for embodiment. Solo piano works exemplifying colouristic writing were curated into recitals, and the rendering of this colouristic writing was investigated through rehearsal and performance.