Foreword by Joanna Merlin A Note from Ted Pugh and Fern Sloan Preface PART ONE Introduction: Origins of the Chekhov Work PART TWO The Essentials Laying the Foundation: Key Terms and Concepts Crossing the Threshold Expanding and Contracting The Actor's Ideal Centre The Qualities of Movement The Four Brothers Radiating and Receiving The Three Physical Centres - Thinking, Feeling and Will Directions PART THREE Transformative Tools Imaginary Centres Staccato and Legato Inner and Outer Tempo Quality and Sensation Atmosphere Imaginary Body Archetype Psychological Gesture PART FOUR Putting the Tools to Use The First Read of a Play Working with Images Layering the Tools Working with Limited Time Camera Work Moments of Change Bringing the Techniques onto the Stage PART FIVE Class Exercises Expanding and Contracting - A Beginner's Class with Ted Expanding and Contracting - Advanced with Ted Opening and Closing, or Expanding and Contracting with Fern Qualities of Movement - A Beginner's Class with Fern Qualities of Movement - Advanced with Fern Four Brothers - A Beginner's Class with Ted Four Brothers - Advanced with Ted Radiating and Receiving with Fern Touch and Contact with Ted The Three Centres with Ted Directions with Bethany Caputo PART SIX Some Guidance for Teaching the Chekhov Work Wrapping Up Acknowledgements References Index.