Meyerhold's etude | Stab with the Dagger
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- เผยแพร่เมื่อ 31 ธ.ค. 2024
- (下に日本語あります)
Our second attempt at representing (making present again) part of the rediscovery of the theatre in the 20th century. This étude is borrowed directly from the Sicilian actor Giovanni Grasso, and reflects Meyerhold's search for a theatre theatrical with clear influence from the Italian Commedia dell Arte.
20世紀のシアターを’今’に使えるかどうか再発見するための、二回目の試みです。
このエチュードはイタリアで発達したコメディア・デ・ラルテに影響されたメイエルホリドの仕事を再現したシチリアの俳優、ジョヴァンニ・グラッソのものに基づいています！
Thank you for this great representation. It is so simply enchanting to watch, without sound, without lighting, just movement and posture
I am currently studying biomechanics but I am struggling to find out about its origin and true meaning, I was wondering if you could share your thoughts about:1. The inspiration for Biomechanics in theatre. What drove Meyerhold to create the practice2. The real meaning conveyed by performing Biomechanics. What is it showing? My only conclusion is that Meyerhold is trying to show that people can express themselves in a very primal manner that is more powerful than words. Thank you,
hey ive reached the same issue u have. Could i ask did u eventually managed to solve the issue and if so, how and what sources did u take the info from
I know these comments are long by now, but I will try to explain what I know based on my reading of his works. To understand why Meyerhold created Biomechanics, you first have to understand the historical context within which he worked. World War One had just ended, and no sooner had it stopped, than the Bolshevik Revolution happened in Russia, wherein the czarist (royalty) regime was overthrown in favour of a government body, the body in question being that which was run by Lenin, the forefather of Communism. When they came into power, a meeting was called by the commissar for education, wherein they essentially wanted to rebuild theatre from the ground up, in order to reflect the similarly radical rebuilding of their governing body. Out if the 120 artists who were invited (including Stanislavsky) only five artists came to the meeting, one of these artists was Meyerhold. The set of policies outlaid by the Communist ideals are all highly mechanical, and are dependent on the collective Identity being equal, and having a society that runs like clockwork. Biomechanics was therefore created to inspire it’s users to function both effectively and efficiently. An actor of Biomechanics cannot afford to waste any energy on actions that aren’t deliberate and purposeful. Meyerhold then went on to teach Biomechanics throughout the 1920’s until his eventual capture. He did a lot of other things too but I tried to summarise it as best as I can, hope this helps!
Oh! And in terms of my sources, it’s a big book called Meyerhold on Theatre, I believe it contains all of his known writings that weren’t destroyed after his excommunication during the 40’s