This article contextualises principles of Chekhov’s technique within convergent developments in dance by bringing into focus the interesting web of connections between Chekhov’s female colleagues – specifically his associate Deirdre Hurst Du Prey – and key pioneers in the field of dance and dance-mime, including Mary Wigman, Isadora Duncan, Martha Graham and Margaret Barr. Their cross-connections broaden our view on the canon of embodied theatre practice, and also open up reflection on how overlaps between acting- and dance principles may be useful for contemporary embodied theatre practice and its efforts to work across these currently (in the Western conservatoire context) quite segregated disciplines.

中文翻译：

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大气中的东西？Michael Chekhov、Deirdre Hurst Du Prey 以及表演与舞蹈之间的实践网络

本文通过聚焦契诃夫的女同事——特别是他的助手迪尔德丽·赫斯特·杜普雷——与舞蹈和舞蹈哑剧领域的主要先驱者（包括玛丽·威格曼）之间有趣的联系网络，将契诃夫技术的原理融入舞蹈的融合发展中、伊莎多拉邓肯、玛莎格雷厄姆和玛格丽特巴尔。他们的交叉联系拓宽了我们对具身戏剧实践经典的看法，也开启了对表演和舞蹈原则之间的重叠如何有助于当代具身戏剧实践及其目前在这些方面的努力的思考（在西方音乐学院上下文）相当隔离的学科。