X. GREAT BRITAIN: Gorgon Craig (The Actor and the Ueber-Marionette), Peter Brook (The Act of Possession)
XII. THE SOVIET UNION & POLAND: Vsevolod Meyerhold (A Rehearsal of The Inspector General), Stanislavsky, Igor Ilinsky, Michael Chekhov, Jerzy Grotovski (The Actor's Technique)
The Actor and the Target 1559362197
Declan Donnellan is the first Director of the Royal Shakespeare Academy and is best known for his work with Check By Jowl, including As You Like It, and the recent production of Homebody/Kabul in New York. As Associate Director of the National Theatre his pro-ductions included Fuente Ovejuna, Sweeney Todd, and Angels in America. Abroad, his work abroad includes Le Cid for the Avignon Festival, The Winter_s Tale for the Maly Theatre in St. Petersbourg and Puskin_s Boris Godunuv for the Moscow Theatre confederation. He has received awards in London, Paris, New York, and Moscow.
Summary
Body Language + Am. Musical and Biomechanics (new field to explore) *
The Viewpoints Book : A Practical Guide to Viewpoints and Composition by Anne Bogart -- The Viewpoints is a technique of improvisation that grew out of the postmodern dance world. It was first articulated by choreographer Mary Overlie, who broke down the two dominant issues performers deal with-space and time-into six categories. Since that time, directors Anne Bogart and Tina Landau have expanded her notions and adapted them for actors to function together spontaneously and intuitively and to generate bold, theatrical work.
The Viewpoints are a set of names given to certain principles of movement through time and space-they constitute a language for talking about what happens on stage. Coupling this with Composition, which is the practice of selecting and arranging the separate components of theatrical language into a cohesive work of art, provides theatre artists with an important new tool for creating and understanding their art form.
Primarily intended for the many theatre artists who, in the last several years, have become intrigued with Viewpoints yet have had no single source to refer to in their investigations. It can also be used by anyone with a general interest in collaboration and the creative process, whether in art, business or daily life.
Anne Bogart is Artistic Director of the SITI Company, which she founded with Japanese director Tadashi Suzuki in 1992. She is the recipient of two OBIE Awards and a Bessie Award, and is an associate professor at Columbia University. Her recent works include Alice's Adventures; Bobrauschenbergamerica; Small Lives, Big Dreams; Marathon Dancing; and The Baltimore Waltz.
Tina Landau, noted director and playwright, whose original work includes Space (Time magazine 10 Best), Dream True (with composer Ricky Ian Gordon) and Floyd Collins (with composer Adam Guettel), which received the Lucille Lortel Award for Best Musical, an OBIE Award and seven Drama Desk nominations. She has been an ensemble member of the Steppenwolf Theatre Company since 1997.
Questions
Meyerhold, Eisenstein and Biomechanics: Actor Training in Revolutionary Russia * William H. Brown III (Foreword), Alma Law, Mel Gordon 0786400986
Please, read acting for the camera pages in advance: Actors in Film Directing, Film in BM and Camera in Method Acting.
Notes
"Stanislavski told the actor he must forget that he is on stage ... Meyerhold told him he must remember that he is one of the audience." ... Meyerhold wanted to bring about a new relationship between the stage and the audience by focusing on the theatre as a mirroring device by means of which other codes—social, political, cultural—and not only aesthetic ones could be reexamined. (Kiebuzinska 1988:44)
Edward Braun. Univ. of Iowa, $35 (358p) ISBN 0-87745-514-7
Legendary Russian theater director Vsevolod Meyerhold (1874-1940) led the revolt against naturalism and flouted Stalinist socialist realism with his avant-garde productions incorporating mime, constructivist sets, musical scores and formalized scenery.
Meierkhol'd repetiruet, 2 vols. Work about the influential Russian theater director Vsevolod Meyerhold (1874-1940), a victim of Stalinism, became abundant after Stalin's death, but books by the director have been few, despite the preservation of Meyerhold materials at the recently renamed Russian State Archive of Literature and Art, formerly the Central State Archive of Literature and Art and familiar to scholars under the acronym TsIGALI. Now, in Meierkhol'd repetiruet (Meyerhold Rehearses), the TsIGALI archivist and eminent theater scholar Maya Mikhailovna Sitkovetskaya has transcribed, annotated, selected, and, with the arts scholar Oleg Feldman, written introductions for Meyerhold's addresses to actors and theater staff, explanations of meaning and blocking, recommendations for reading, work on dictionary...
The Moving Body: Teaching Creative Theatre by Jacques Lecoq -- Jacques Lecoq was born in Paris in 1921. He taught until the day before his death in 1999. David Bradby is Professor of Drama and Theatre Studies at Royal Holloway University of London. His is a director, translator, and the author of, among other books, Mise en scene: French Theatre Now.
To the Actor: On the Technique of Acting by Michael Chekhov, Nicolai Remisoff; Harper & Row, 1953 - Chapter 1: The Actor's Body and Psychology
- Chapter 2: Imagination and Incorporation of Images
- Chapter 3: Improvisation and Ensemble
- Chapter 4: The Atmosphere and Individual Feelings
- Chapter 5: The Psychological Gesture
- Chapter 6: Character and Characterization
- Chapter 7: Creative Individuality
- Chapter 8: Composition of the Performance
- Chapter 9: Different Types of Performances
- Chapter 10 How to Approach the Part
* The Theatre--Advancing by Edward Gordon Craig; Little, Brown & Company, 1919 - Part I
- A Plea for Two Theatres: This Essay Is Dedicated to the Tired Business Man
- A Durable Theatre
- The Modern Theatre, and Another
- In Defence of the Artist
- The Open Air
- Belief and Make-Believe: A Footnote to "The Actor and the Über-Marionette."
- Imagination
- Part II
- Theatrical Reform
- Public Opinion
- Proposals Old and New: A Dialogue Between A Theatrical Manager and An Artist of the Theatre.
- Part III
- Gentlemen, the Marionette!
- On Masks: By A Bishop and by Me
- Shakespeares Collaborators
- In a Restaurant
- "Literary" Theatres
- Art or Imitation?: A Plea for An Enquiry After the Missing Laws of the Art
- A Conversation with Jules Champfleury
- The Theatre in Italy: Naples and Pompeii: A Letter to John Semar
- Church and Stage: in Rome: "When in Rome Do as the Romans Do."
- Thoroughness in the Theatre
- On Learning Magic: A Dialogue Many Times Repeated
- Tuition in Art: A Note to the Younger Generation of Theatrical Students
- On the Old School of Acting
- A Letter to Ellen Terry
- Yvette Guilbert
- Sada Yacco
- New Departures
- The Wise and the Foolish Virgins
- To Eleonora Duse
- Ladies, Temperament and Discipline
- Part IV
- The Copyright Law: A Suggestion for An Amendment
- The New Theme: Poverty
- The Voice
- Theatrical Love
- Realism, or Nerve-Tickling
- The Poet and Motion Pictures
- The True Hamlet
- The Futurists
- Fire! Fire!
Vsevolod Meyerhold by Jonathan Pitches; Routledge, 2003 - 1: A Life of Contradictions
- 2: Meyerhold's Key Writings
- 3: Meyerhold's Key Production
- 4: Practical Exercises
Most of the references in this directory are to two textbooks I used in my THR221 Intermediate Acting. Of course, there is a new directory biomechanics.vtheatre.net with it own books and biblio pages.
I hope that I have enough links to amazon to get what you possible can get on Meyerhold and Biomechanics..
Fall 2003 -- Spring 2004: 5 Approaches to Acting (textbook for Acting 121), David Kaplan + Second Part -- Acting II *
Part VI. Comparing Approaches
Chapter 14. Comparing
Chapter 15. Choosing an Approach
Chapter 16. Combining Approaches
[ I hyperlinked some titles of the chapters with my existing pages on the subjects ]
"BioMX Theory for Actors" (2003): Actors on Acting (textbook)
[ late-19th century/early 20th century ideas about physical plasticity are those by and about Emile Jaques-Dalcroze and "eurhythmics" or 'rhythmique.' (In particular, Jo Penningington's book, "The Importance of Being Rhythmic") ]
Recommended Reading: Robert Barton's STYLE FOR ACTORS (Mayfield Press). [ list ]
Meyerhold the Director by Konstantin Rudnitsky
Russian and Soviet Theatre: Tradition and the Avant-Garde
by Konstantin Rudnitsky, et al. Paperback (June 2000)
Meyerhold at Work by Paul Schmidt
Vsevolod Meyerhold (Directors in Perspective)
by Robert Leach (Preface)
The Theatre of Meyerhold and Brecht by Katherine Bliss Eaton Drama and Theatre Studies, Contributions in, No. 19 (ISSN: 0163-3821) Greenwood Press. Westport, Conn. 1985. 142 pages
LC 85-9910. ISBN 0-313-24590-8. EMB/ $49.95
Meyerhold on Theatre, Vsevolod Meyerhold, Edward Braun (Translator)
Meyerhold: a Revolution in Theatre, Edward Braun
This anthology brings together Vsevolod Meyerhold's most significant writings and utterances and covers his entire career as a theatre director from 1902 until 1939. It contains unabridged translations from the original Russian, updated and supplemented with a critical commentary.
The Twentieth Century Performance Reader, Edited by Mike Huxley and Noel Witts, both of De Montfort University
MEYERHOLD AND BRECHT, Katherine Bliss Eaton * Contributions in Drama and Theatre Studies, Number 19 GREENWOOD PRESS Westport, Connecticut · London, England
On the Technique of Acting; The First Complete Edition of Chekhov's Classic to the Actor by Chekhov, Michael
Acting; A Handbook of the Stanislavski Method by: Cole, Toby
Sanford Meisner on Acting by Meiser, Sanford
new:Vsevolod Meyerhold by Jonathan Pitches, Manchester Metropolitan University, UK
Vsevolod Meyerhold is one of the most controversial figures in the history of the Russian theatre, noted for the richness and diversity of his work and his fascination with the grotesque. In this compact volume, Jonathan Pitches traces Meyerhold's development through his experiments with realism, symbolism, constructivism and futurism and follows the political pressures, which forced his decline and silence as an artist. Pitches brings together for the first time:
•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 useable description of the 'biomechanical' exercises he developed for actor training.
Twentieth-Century Theatre: A Sourcebook by Richard Drain; Routledge, 1995 [questia]
PREFACE This is a collection of writings on theatre by those involved in theatre, whether as directors, performers, writers or designers. It is concerned with significant innovations in modern stage practice; and aims to illuminate the ideas behind them. Its span is wide: from the onset of this century to the present. So it cannot hope to be comprehensive, and has no illusion of being so. Numerous important figures are omitted, and it deals with five aspects of theatre only. These five aspects, however, have had deep and lasting importance, and offer perspectives into a range of key developments throughout the period. [...]
Part I: The Modernist Dimension
Part II: The Political Dimension
Part III: The Popular Dimension
Part IV: The Inner Dimension
Part V: The Global Dimension
...
[ some BM relevant ]
23. SERGEI EISENSTEIN
FROM A Personal Statement (1926) (p.87)
25. VSEVOLOD MEYERHOLD
FROM The Reconstruction of the Theatre (1929) (98)
26. ERWIN PISCATOR
FROM Basic Principles of a Theory of Sociological Drama (1929)
1 THE FUNCTION OF MAN
42. VLADIMIR MAYAKOVSKY
FROM Open Letter to the Workers (1917)
[ full list ]
The Theatre of Erwin Piscator by John Willett; Holmes & Meier, 1979
Italian Futurist Theatre, 1909-1944
Book by Günter Handler Berghaus; Clarendon Press, 1998
Enemies: A Russian Love Story; Meyerhold and Stanislavsky, the Two Opposing Titans of Russian Theatre, Are the Seeds for Renewal and Reawakening in Today's Moscow
Magazine article by Lawrence Sacharow; American Theatre, Vol. 21, January 2004
The Fall and Rise of Meyer Holo
Magazine article by David Chambers, Nikolai Pesochinsky; American Theatre, Vol. 17, January 2000
Meyerhold, Vsevolod
Encyclopedia article; The Columbia Encyclopedia, Sixth Edition, 2004
The Theatre of Bertolt Brecht: A Study from Eight Aspects
Book by John Willett; Methuen, 1959
The Theater of Meyerhold and Brecht by Katherine Bliss Eaton; Greenwood Press, 1985 [ quotes @ biomechanics.vtheatre.net ]
... Many of Meyerhold's theoretical writings and pronouncements have been translated into English by Edward Braun in Meyerhold on Theatre. Many of Brecht's theoretical writings are available in English in John Willett translations: Brecht on Theatre and The Messingkauf Dialogues. English translations of Brecht's plays are listed in the bibliography to Ronald Hayman Brecht, p. 408.
Brecht: A Collection of Critical Essays by Peter Demetz; Prentice-Hall, 1962
Ego, Faith and Yuri Lubimov * article by David Plante; American Theatre, Vol. 9, February 1993
Directing pages biblio and books + books.txt (amazon new window)
... Меня здесь били — больного шестидесятишестилетнего старика, клали на пол лицом вниз, резиновым жгутом били по пяткам и по спине, когда сидел на стуле, той же резиной били по ногам (сверху, с большой силой) и по местам от колен до верхних частей ног. И в следующие дни, когда эти места ног были залиты обильным внутренним кровоизлиянием, то по этим красно-синим-желтым кровоподтекам снова били этим жгутом, и боль была такая, что казалось на больные чувствительные места ног лили крутой кипяток (я кричал и плакал от боли). Меня били по спине этой резиной, меня били по лицу размахами с высоты”... [ Статья: Сухой голос трагедии ]
МЕЙЕРХОЛЬД Всеволод Эмильевич (09. 02. 1874 — 02. 02. 1940), театральный актер и режиссер.
Окончил Музыкально-драматическое училище Московского филармонического общества (1898) и был принят в труппу МХТ. До 1920 — режиссер различных театров, с 1920 — руководитель Театра РСФСР (первого), с 1923 — театром В. Э. Мейерхольда, руководителем Высших режиссерских мастерских (ГВЫРМ), где начинали свой творческий путь С. Эйзенштейн, И. Ильинский, Э. Гарин, Е. Габрилович, С. Юткевич, И. Пырьев и другие. Незаконно репрессирован.
Народный артист Республики (1923).
More and more I use film terminology in BM class; simple as CU and MS frame -- or more complex, like line of action, axis of tention.
The Secret Art of Antonin Artaud [ABRIDGED]
by Jacques Derrida, Paule Thevenin (Contributor), Mary Ann Caws (Translator)
Banham, M (ed) (1988) The Cambridge Guide to World Theatre, Cambridge UP, Cambridge
Braun, E (1981) Meyerhold on Theatre, Eyre Methuen, London
Braun, E (1986) The Theatre of Meyerhold, Methuen, London
Huxley, M & Witts, N (1996) The Twentieth Century Performance Reader, Routledge, London
Leach, R (1993) Vsevelod Meyerhold, Cambridge UP, Cambridge
Schmidt, P (1996) Meyerhold at Work, Applause, New York
Vsevolod Meyerhold by Jonathan Pitches, Franc Chamberlain (Editor) Routledge; (December 2003) ISBN: 0415258847
"Bertolt Brecht : His Life, His Art and His Times" by Frederic Ewen
Meyerhold and Early Twentieth-Century Russian Theatre (list)
http://www.uea.ac.uk/eas/teaching/pgunits/modernistdrama04.shtml
Braun, Edward, ed., Meyerhold on Theatre, London, 1969.
Braun, Edward, The Theatre of Meyerhold. London, 1979.
Deeak, Frantisek, ‘The Agit-Prop and Circus Plays of Vladimir Mayakovsky’, The Drama Review, 17:1 (1973), 47-52.
Dйak, Frantisek, ‘Russian Mass Spectacles’, The Drama Review, 19:2 (1975), 7-22.
Eaton, Katherine Bliss, The Theater of Meyerhold and Brecht, Greenwood Press, 1985.
Evreinoff , Nicolas, The Theatre in Life, London, 1927.
Gray, Camilla, The Russian Experiment in Art, 1863-1922, London, 1962.
Hedgbeth, Llewellyn H., ‘Meyerhold’s D.E.’, the Drama Review, 19:2 (1975), 23-36.
Hoover, Marjorie L. , Meyerhold: The Art of Conscious Theatre, Amhurst, 1974.
Kleberg, Lars and Nils-Ake Nilsson, Theatre and Literature in Russia, 1900-1930 Stockholm, 1984.
Worall, Nick, Modernism to Realism on the Soviet Stage: Tairov, Vakhtangov, Okhlopkov, Cambridge, 1989.
What Is Theatre? : Incorporating The Dramatic Event and Other Reviews, 1944-1967
What Is Theatre?, originally published in 1968, collects all of Eric Bentley's theater criticism. Bentley's most productive years as a reviewer coincided with some of the greatest years of twentieth-century drama. His essays cover the premieres of works by T. S. Eliot, Tennessee Williams, Jean Anouilh, and Arthur Miller, among others, as well as subjects as far-ranging as Charlie Chaplin and the Peking Opera--and each contains insights that are still relevant. What Is Theatre? is essential reading for anyone interested in understanding what our American theater has been, is now, and could become.
Bookmark vTheatre! amazon.com *
Banham, M (ed) (1988) The Cambridge Guide to World Theatre, Cambridge UP, Cambridge
