RE; Meyerhold and biomachanics.
Mon, 29 Jan 2001, 02:13 pmWalter Plinge5 posts in thread
RE; Meyerhold and biomachanics.
Mon, 29 Jan 2001, 02:13 pmHa,
I'm a student and I need help to understand how Meyerholds methods of actor training would assist an actor and how his work fits into comp Australian theatre practices today and the implications caused. What evidence is there of Meyerholds work being practised today?
Ta, Ez
I'm a student and I need help to understand how Meyerholds methods of actor training would assist an actor and how his work fits into comp Australian theatre practices today and the implications caused. What evidence is there of Meyerholds work being practised today?
Ta, Ez
RE: Meyerhold and biomachanics.
Tue, 30 Jan 2001, 12:19 pmWalter Plinge
Yes!!! Meyerholdian approaches to theatre are being practised in Perth!
As a diresctor I used Meyerholdian methodology in my last two productions 'an elektra', and 'A Radical Re-Interpretation: Chekhov's The Seagull'.
My up and coming production of Dr Koppelius (a Postmodern Rock/Horror Musical) To be performed at the Subiaco Theatre Centre (Studio) in March is a further exploration of practises used by Meyerhold.
From my personal experience I find that actors (and audiences) are so familiar with Stanislavkian 'stylisation' that any other approach becomes at the same time both alienating and invigorating.
His ideas on Bio-Mechanics are still useful but not generally used in modern actor training. More recent understandings of human movement and physical semiotics have replaced them.
My pet theory about the obscurity of Meyerholdian methods today is purely that the acting techniques of Stanislavsky better fit the current dominatant mode of entertainment; Film and Television.
Meyerhold maintained that Theatre was intinsicaly 'theatrical' and that realism was as much a passing phase as expressionism. The ideas of Meyerhold were in a great part appropriated by Brecht.
Interestingly on his death bed Stanislavsky handed over his company Moscow Arts and Entertainment over to Meyerhold and said: "Meyerhold is the future of theatre"
As a diresctor I used Meyerholdian methodology in my last two productions 'an elektra', and 'A Radical Re-Interpretation: Chekhov's The Seagull'.
My up and coming production of Dr Koppelius (a Postmodern Rock/Horror Musical) To be performed at the Subiaco Theatre Centre (Studio) in March is a further exploration of practises used by Meyerhold.
From my personal experience I find that actors (and audiences) are so familiar with Stanislavkian 'stylisation' that any other approach becomes at the same time both alienating and invigorating.
His ideas on Bio-Mechanics are still useful but not generally used in modern actor training. More recent understandings of human movement and physical semiotics have replaced them.
My pet theory about the obscurity of Meyerholdian methods today is purely that the acting techniques of Stanislavsky better fit the current dominatant mode of entertainment; Film and Television.
Meyerhold maintained that Theatre was intinsicaly 'theatrical' and that realism was as much a passing phase as expressionism. The ideas of Meyerhold were in a great part appropriated by Brecht.
Interestingly on his death bed Stanislavsky handed over his company Moscow Arts and Entertainment over to Meyerhold and said: "Meyerhold is the future of theatre"