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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.
A study of the career of the Russian revolutionary theatre director, Vsevolod Meyerhold, from his early years to his glittering triumphs in the Tsarist imperial theatres.
High Quality Content by WIKIPEDIA articles! Vsevolod Emilevich Meyerhold (Russian: Vse volod Emi l'evich Mejerho l'd; born German: Karl Kasimir Theodor Meyerhold) (9 February1874- 2February 1940) was a great Russian and Soviet theatre director, actor and theatrical producer. His provocative experiments dealing with physical being and symbolism in an unconventional theatre setting made him one of the seminal forces in modern international theatre.
A major reissue of a book which is used by students of Meyerhold across the world This was the first collection of Meyerhold's writings and utterances to appear in English and covers his entire career as a director from 1902 to 1939. These are supplemented by a critical commentary, relating Meyerhold to his period and containing descriptions, based on eye-witness accounts, of all his major productions.
Vsevolod Emilyevich Meyerhold (1874-1940) was a pioneering Russian avant-garde theatre director. He opposed the realism of Konstantin Stanislavsky’s theatre, asserting a theatre that celebrated its own theatricalism. His work inspired many artists of his modernist era and since then, including theatre practitioners such as Bertolt Brecht, Jerzy Grotowski and Augusto Boal, though his work has still not had the widespread recognition it deserves.
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.
All books in the Routledge Performance Practitioners series are carefully designed to enable the reader to understand the work of a key practitioner. They provide the first step towards critical understanding and a springboard for further study for students on twentieth century, contemporary theatre and theatre history courses. This is the first book to combine 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 training the actor.
Edward Braun's acclaimed work on Meyerhold available for the first time in paperback Vsevolod Meyerhold began his career in theatre as an actor with the Moscow Art Theatre, and after a spell in the remote provinces, he returned to Moscow at Stanislavski's invitation and founded a new, experimental studio for the Art Theatre. This book takes us through Meyerhold's extraordinary life of experiment and discovery, describing his rehearsal techniques and exercises and provides an acute assessment of his continuing influence on contemporary theatre.
Discusses each director's key productions, ideas and rehearsal methods, combining theory and practice.
“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.
One of a series discussing topics of interest in theatre studies from theoretical, methodological, philosophical and historical perspectives.
No Kidding! Clown as Protagonist in Twentieth-Century Theater examines the way clown was transformed into a serious character in twentieth-century theater. Modernist theater practitioners recognized that clown's approach to performance is profoundly different from other modes of theatrical representation. The paradox of clown, a traditionally marginal, comic character thrust into center stage as the focus of the agon, provided a stimulating new way to renovate tragedy. Experiments with clown by Jean Cocteau, Vsevolod Meyerhold, Bertolt Brecht, Samuel Beckett, Giorgio Strehler, Dario Fo, and Roberto Benigni are examined as a means of exploring how and why clown became, in contemporary theater and film, a character from whom audiences expect philosophizing, angst, or political criticism as much as physical comedy and fractured language.
The study of modernism has been largely focused on Western cultural centres such as Paris, Vienna, London, and New York. Extravagantly illustrated with over 300 photos and reproductions, Modernism in Kyiv demonstrates that the Ukrainian capital was a major centre of performing and visual arts as well as literary and cultural activity. While arguing that Kyiv's modernist impulse is most prominently displayed in the experimental work of Les Kurbas, one of the masters of the early Soviet stage, the contributors also examine the history of the city and the artistic production of diverse groups including Ukrainians, Russians, Jews, and Poles. Until now a silent presence in Western accounts of the cultural topography of modernism, multicultural Kyiv is here restored to its historical, intellectual, and artistic complexity. Excerpts taken from the works of artists, writers, and critics as well as the numerous illustrations help give life to the exciting creativity of this period. The first book-length examination of this subject, Modernism in Kyiv is a breakthrough accomplishment that will become a standard volume in the field.
"This Introduction is an exciting journey through the different styles of theatre that twentieth-century and contemporary directors have created. It discusses artistic and political values, rehearsal methods and the diverging relationships with actors and designers, treatment of dramatic material and approaches to audiences. Offering a compelling analysis of theatrical practice, Christopher Innes and Maria Shevtsova explore the different rehearsal and staging principles and methods of such earlier groundbreaking figures as Stanislavsky, Meyerhold and Brecht, revising standard perspectives on their work, as well as analysing a diverse range of innovative contemporary directors, including Ariane Mnouchkine, Lev Dodin, Peter Brook, and Peter Sellars. While tracing the different roots of directorial practices across time, and discussing their artistic, cultural and political significance, the authors provide significant examples of the major directorial approaches and reveal comprehensive patterns in the craft of directing and the influence and collaborative relationships of directors"--
Meyerhold's productions were an encyclopedia of theatrical history, incorporating everything from circus tricks to highly stylized elements of the Kabuki theatre. In the twenties and thirties Meyerhold's theatre became a mecca for those seeking new theatrical ideas. There was hardly a figure of importance in the theatre at that time who did not come to Moscow to see his work. And many, including Brecht, stayed on to study. Unlike Stanislavsky, Meyerhold was not a theoretician. He left behind no large body of theoretical writings summing up his many years of experience in the theatre. What do remain and must take the place of both Meyerhold's theoretical writings and his memoirs are the reminiscences and confessions made in conversations with pupils and friends. Of course, some of the most valuable are those recorded by Aleksandr Gladkov during his years of close association with Meyerhold. A talented essayist and "keen" observer, Gladkov has succeeded in capturing the essence of Meyerhold's personality and temperament as revealed in the director's own informal comments about his rich and varied experiences in the theatre. His notes made at rehearsals present the living Meyerhold in action: complex, demanding, sometimes grossly unfair in his treatment of others, but never dull or indifferent. Included in the book is a biographical introduction by Alma Law, the translator and editor, followed by Gladkov's own account of his association with Meyerhold. Dr. Law has also added commentary to Meyerhold's observations based on many hours on interviews with Gladkov in Moscow during the 1970s.
The Russian theater director Vsevolod Meyerhold (1874-1940) has since his -repression- under Stalin resumed his rightful place alongside Stanislavsky as a founder of twentieth-century -director's theater.- But he has been simplistically stereotyped as a radical of the bare stage and biomechanical gymnastics for actors. Marjorie L. Hoover, who surveyed his whole forty-year career, official as well as experimental, in her "Meyerhold: " "The Art of Conscious Theater" - nominated for a National Book Award in 1975 - now concentrates in "Meyerhold and" "His Set Designers" on his collaboration with many great artists. For with Leon Bakst and Alexander Golovin, among others, he pioneered the modern -designer's theater, - staging both drama and opera in painterly luxury before 1917, and thereafter he led a revolution in theater art together with several designers, among whom, El Lissitzky, Popova and Rodchenko."

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