Russian theater director Vsevolod Meyerhold designed
Biomechanics--a system of actor training--shortly after the Russian
Revolution. Although not always understood, it received wide
attention during the twenties and thirties as a result of
Meyerhold's unique position as the foremost Soviet avant-garde
director. Meyerhold had students that both perfected and challenged
his theories and regime in actor training--one was the great
Russian film director Sergei Eisenstein. Gathered from private
Moscow archives, this is the first book-length study of Meyerhold's
stylized training method in practical detail, as well as
Eisenstein's theoretical analysis of Biomechanics. The book is
divided into four parts. Part I traces the history of Biomechanics
in relation to Meyerhold's and Eisenstein's aesthetic development.
Part II is made up of documentary materials: the theoretical
foundations of Biomechanics and Expressive Movement, with
descriptions of the basic biomechanical exercises and etudes. Part
III consists of descriptive accounts and interviews by British and
American journalists and theatre practitioners. In Part IV are a
glossary of biomechanical terminology, notes, bibliographical
information, and the index.
General
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