Russian Theatre School :
meyerhold.us at my.mashable.com
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Russian Theatre School : meyerhold.us at my.mashable.com
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Physical Theatre techniques designed to teach the actor to express himself or herself
through his/her body and to move beyond verbal language and voice as the actor’s primary tool.
... instead of links: 2007 sixteen lessons : six parts (textbook) & four segments (web) 1. Task (method, take 1) 2. Episodes (brecht and meyerhold) 3. Image (mask or dreams) 4. rules or not 5. Storytelling 6. You
notes:
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VSEVELOD MEYERHOLD (1874-1942)
Appointed by Constantin Stanislavski to find an alternative approach to acting. His system has been called an opposite to that of Stanislavski. While Stanislavski seeks inner truth, Meyerhold does not. Meyerhold stresses that any emotion that occurs must be with the audience and not the actor. To Meyerhold, the director was the only creative force in the theatre. His was a dictatorial approach.
Three major concepts are associated with Meyerhold:
BIOMECHANICS
Meyerhold wished each of his actors to have a body as efficient as a machine in carrying out the orders of its operator. Actors were trained in ballet, gymnastics, and circus techniques until they were able to respond instantly to the demands of the director. Meyerhold was not interested in psychological realism.
THEATRICALISM
Meyerhold wished the audience to remain conscious that it was in the theatre. He removed the front curtain, had stage lights visible to the audience, used a gymnastic approach to acting, juxtaposed many contrasting dramatic elements. Meyerhold never allowed his audience to confuse theatre with real life. Theatre was an art form to him, and he felt that this art form was best used as a means for social, political and economic change - a powerful means of propaganda.
CONSTRUCTIVISM
The stage, the actor and all theatrical elements were viewed by Meyerhold as a single complex machine under direct control of the director, which in this case, was him. Sets were ramps, platforms, trapezes united to make a series of heights and levels in which an actor could most efficiently work on.
Although many schools of thought find Meyerhold too much of an extreme, he has nevertheless contributed many worthwhile ideas, many of which are still being practiced today.
2005 * After so many years of webbing I cannot change the nature of my webpages -- they are what they were from the start; notes, thoughts, points I make for myself for classes and productions. Do they have an independent existence? Maybe, somewhere in the future...
Если Станиславский был богом театра, то Мейерхольд его
сатаной. -- Anatoly Mariengoff
http://reliquarium.by.ru/html_ru/fiction/mariengoff/moivek.shtml
comedy scripts Monty Python's Flying Circus
acting2 class/group pages