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“Not a mirror but a magnifying glass”—such, in the poet Mayakovsky’s words, was the theater of Vsevolod Meyerhold. The first to insist on the primacy of the director’s role, indeed the first to conceive of it as a role, this passionately dedicated Russian director tore down the fourth wall and forced the actors and audience together into one inescapable community of experience. Yet Meyerhold recorded few of his theories in writing, and the intensity and brilliance of his work must be recaptured through the actors and artists who helped create the performances. Focusing on Meyerhold’s postrevolutionary career, Paul Schmidt has assembled in this book journals, letters, reminiscences, and, of special interest, actual rehearsal notes that build a fascinating, intimate picture of Meyerhold as a theorist and as a man. Included are Meyerhold’s frantic notes to his teacher, friend, and bête noire Stanislavsky; detailed descriptions of how he trained his actors in “biomechanics”; and memories by such students as Eisenstein and such friends as Pasternak and Ehrenburg. One chapter deals with Meyerhold’s never-realized conception of Boris Godunov, while another describes his direction of Camille, which starred Zinaida Raikh, his wife, and which played its 725th and last performance on the day Stalin’s government liquidated Meyerhold’s theater. Paul Schmidt’s introduction and headnotes enhance our understanding of Meyerhold as a pioneer of modern theater.
Vsevolod Meyerhold considers the life and work of the extraordinary twentieth-century director and theatre-maker. This compact, well-illustrated volume includes: a biographical introduction to Meyerhold’s life a clear explanation of his theoretical writings an analysis of his masterpiece production Revisor, or The Government Inspector a comprehensive and usable description of the ‘biomechanical’ exercises he developed for training the actor. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for today's student.
This book traces the career of the Russian revolutionary theatre director, Vsevolod Meyerhold, from his early years as a founding member of the Moscow Art Theatre with Stanislavsky and Nemirovich-Danchenko, through his Symbolist period, his experiments with commedia dell'arte and other popular forms, to his demise in the Stalin era. Leach describes in detail Meyerhold's 'system' of theatre: his attitude to the audience, the place of the fore stage, 'biomechanics' and actor training, and the importance of the mise-en-scène. Finally, Leach explores Meyerhold's legacy, which can be detected in the work of Brecht, Eisenstein, Peter Brook and others.
Meyerhold was one of the foremost Russian directors of the stage and was considered by many to be the equal of Stanislavski. With a critical commentary by the editor these writings are essential reading for anyone studying Russian drama and culture.
What did Bakhtin think about the theatre? That it was outdated? That is ‘stopped being a serious genre’ after Shakespeare? Could a thinker to whose work ideas of theatricality, visuality, and embodied activity were so central really have nothing to say about theatrical practice? Bakhtin and Theatre is the first book to explore the relation between Bakhtin’s ideas and the theatre practice of his time. In that time, Stanislavsky co-founded the Moscow Art Theatre in 1898 and continued to develop his ideas about theatre until his death in 1938. Stanislavsky’s pupil Meyerhold embraced the Russian Revolution and created some stunningly revolutionary productions in the 1920s, breaking with the realism of his former teacher. Less than twenty years after Stanislavsky’s death and Meyerhold’s assassination, a young student called Grotowski was studying in Moscow, soon to break the mould with his Poor Theatre. All three directors challenged the prevailing notion of theatre, drawing on, disagreeing with and challenging each other’s ideas. Bakhtin’s early writings about action, character and authorship provide a revealing framework for understanding this dialogue between these three masters of Twentieth Century theatre.
Courageous and compelling, an invaluable resource for actors, directors, and teachers that can open a pathway to inner creativity. "The actor will do, in public, what is considered impossible." When the renowned Polish director Jerzy Grotowski began his 1967 American workshop with these words, his students were stunned. But within four weeks they themselves had experienced the "impossible." In An Acrobat of the Heart, teacher-director-playwright Stephen Wangh draws on Grotowski's insights and on the work of Stanislavski, Uta Hagen, and others to bridge the gap between rigorous physical training and practical scene and character technique. Wangh's students give candid descriptions of their struggles and breakthroughs, demonstrating how to transform these remarkable lessons into a personal journey of artistic growth.
Delving into the process of theatrical creation, this text follows Vsevolod Meyerhold, the Russian actor and director of primary experimental interests, as he talks to his actors and colleagues.
Robert Leach traces the parallel careers of the two greatest 20th century theatre practitioners, the Russian masters Konstantin Stanislavsky and Vsevolod Meyerhold. He focuses particularly upon their two contradictory and yet complementary acting methods.
In Through the Body, Dymphna Callery introduces the reader to the principles behind the work of key practitioners of 20th-century theater including Artaud, Grotowski, Brook and Lecoq. She offers exercises that turn their theories into practice and explore their principles in action.