Ghost Cement
experimental theatrical improvisation
As soon as an actor develops the ability to improvise, and discovers within himself this inexhaustible well from which every improvisation is drawn, he will enjoy a sense of freedom hitherto unknown to him, and will feel himself much richer inwardly.
— Micahel Chekhov, To the Actor: On the technique of acting
Process
Ghost Cement was an experimental training and show development process with series of performances to demonstrate the outcome of the approach.
In 2023, Lefton brought together his intensive study of Michael Chekhov technique with his many years of experience with improvisation and more recent study of the Long Form improvisation style in effort to discover ways in which the two techniques could support one another.
The ensemble convened in January 2023, meeting regularly until performances in early May 2023. The approach was a three-part process
Training in foundational Chekhov and Long Form Improv tools, and some movement-based improvisation,
Mixed training and experimentation of the tools, exploring the application of Chekhov tools to improvised scenes and structures,
Rehearsal and refinement of a show, with a small amount of devised structure explored in depth through repeated improvisations.
The Ghost Cement process highlighted the broad space between traditional devised theater and pure spontaneous improvisation. Through the performance run, Ghost Cement highlighted on one path through this space, revealing opportunities, inquiries and artistic need to continue exploring the field.
Performance
Ghost Cement explores the uncertainty of human relation among eight characters confronting fear of loss and discovery of connection. It’s a story about people who lose what they didn’t have to begin with and find what they always had but never considered theirs. It reflects on this constant condition of the movement of relationship, of falling apart and reconnecting.
Ghost Cement is developed in an experimental theater-making process combining Michael Chekhov technique with long form improvisation. The narrative shifts between grounded slice-of-life moments and surreal explorations of the characters’ inner lives. The work is plotted but unscripted, fluid and changing as is our experience of everyday life.
Each scene within Ghost Cement is marked by beginning and ending landmarks and a consistent and rehearsed atmosphere developed through Chekhov technique. In the ensemble scenes, a series of rules are laid out. All other actions, text and story are improvised throughout the piece, creating familiar movement but a unique experience, quite different from show to show.
Reception
Your approach combines playfulness with aspects of awareness-raising which should be a frequent training for ensembles of different sizes.
There are invisible rules which give hints to the players through an unknown unpredictable terrain of improvisation and still keep them really awake for the partner on stage as well as for the improv's arc - and by not knowing what's next the audience's interest stays awake too.
Thanks for sharing the players' moments one on one with me witnessing unique encounters there!
Thilo Herrmann, Actor
Shakespeare Company Berlin
& Theaterforum Kreuzberg
I had the good fortune of experiencing Ghost Cement twice, (their premiere and the second performance). As a teacher of the Chekhov technique I was intrigued by what this group had to offer, having heard that their process included combining the Michael Chekhov Technique with long form improvisation (an area I’m not so familiar with) I was excited by what was to come. Any developments being made in the theatre world at this time are to be commended, it’s time to test the old familiar boundaries and see what can happen. It was a joy to watch Ghost Cement unfold, they had chosen very interesting themes to work with and then within given forms gave themselves a freedom within performance, the results were two very different and equally engaging nights of theatre. It seems to me that director Jacob Lefton has tapped into a new kind of theatre by bringing these two styles together. For me the experience was richer having seen two evenings with similar forms and themes but with very different outcomes. The performers were truly present on both evenings, this added to the excitement for the audience, these moments of uncertainty, stepping into the unknown but yet with the security of the pieces being held by particular forms. I look forward to seeing more of Jacob Lefton’s exciting, experiential theatre work in future.
Sarah Purcell A.L.C.M, B.Ed.
Actor & Acting Coach
"Ghost Cement," like its name suggests, captures small moments, preserves them in time, and then dissolves them in the ephemeral nature of improv. The clearly developed character relationships, thoughtful use of a few well-placed props, and performance intuition and patience are clear results of Jacob Wolf Lefton's direction and leadership of the ensemble. His instinct of blending improv-style settings with Chekov performance techniques creates a unique experiment that gives the audience a glimpse inside performance-creation and technical process.
Emily L. Manthei
Director & Screenwriter
Credits
Performances
May 1 & 2 at Theater Aufbau Kreuzberg (TAK),
May 12 at TheaterSpielRaum
Directed by
Jacob Wolf Lefton
Performers
Ashlyn Fletcher, Jacob Wolf Lefton, Jonas Müller, Olivia Cole, René Erler, Robin Leo Hoffmann, Sonja Z. Kriesel
Music
Harry Hudson-Taylor (May 12)
House & Tech
Sophie Hess
Carpentry
Jakob Mateyka
Special thanks
Michael Chekhov, Joerg Andrees, Sarah Purcell, Henriette Abitz, Sophie Hess, Ingrid Feierabend, Theaterhaus Berlin Mitte, Theater Aufbau Kreuzberg (TAK), Theaterspielraum, Performing Arts Program Berlin, Ilona Schaal, Daniel Brunet, Tom Timmerhoff