Slava Kokorin, 2009 winner of the Stanislavski Prize for ‘Best Theatre Pedagogue’, worked with the Michael Chekhov technique for more than three decades. One of Kokorin’s contributions was the development of a Chekhov-based exercise called ‘Corridors’. Corridors is grounded in the principles of psychophysical experience and the actor’s imagination. Through the images born from the Corridors exercise the actor physically and psychologically discovers, experiences, and embodies a character’s Given Circumstances and biography, as well as the character’s Objectives, Super-objective, stakes, and urgency. This renders Corridors more effective and efficient than traditional intellectual work on Given Circumstances and character biography; work that many actors and students of acting find cumbersome and dull. Corridors is dynamic, surprising, and immediate because it is based in active creative research. It is an innovative tool for both actor training and character creation.

What follows is the lead author’s documentation, reflection, and interpretation of the application, meaning, and value of his first experience with Corridors as an actor/student, interspersed with responses and context from his teacher, the co-author. It documents a previously undocumented exercise by an important theatre pedagogue; an exercise that extends the lineage of Michael Chekhov’s impactful work.

斯拉瓦·科科林 (Slava Kokorin) 是 2009 年斯坦尼斯拉夫斯基奖“最佳戏剧教育家”的获得者，他使用迈克尔·契诃夫的技巧已经工作了三十多年。Kokorin 的贡献之一是开发了一种名为“走廊”的基于契诃夫的练习。走廊的基础是心理物理经验和演员的想象力。通过从走廊产生的图像，演员在身体和心理上发现、体验和体现角色的特定环境和传记，以及角色的目标、超目标、风险和紧迫性。这使得走廊比关于特定环境和人物传记的传统知识工作更有效和高效；许多演员和表演专业的学生觉得繁琐和乏味的工作。走廊是动态的，令人惊讶的，并且是直接的，因为它基于积极的创造性研究。它是一种用于演员培训和角色创作的创新工具。

接下来是主要作者对他作为演员/学生在 Corridors 的第一次体验的应用、意义和价值的记录、反思和解释，并穿插着他的老师（合著者）的回应和背景。它记录了一个重要的戏剧教育家以前没有记录的练习；这项练习扩展了迈克尔·契诃夫（Michael Chekhov）有影响力的作品的血统。