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First Published in 1996. The Russian Theatre Archive makes available in English the best avant-garde plays from the pre-Revolutionary period to the present day. It features monographs on major playwrights and theatre directors, introductions to previously unknown works, and studies of the main artistic groups and periods. Plays are presented in performing edition translations, including (where appropriate) musical scores, and instructions for music and dance. Whenever possible the translated texts will be accompanied by videotapes of performances of plays in the original language.
First Published in 1996. The Russian Theatre Archive makes available in English the best avant-garde plays from the pre-Revolutionary period to the present day. It features monographs on major playwrights and theatre directors, introductions to previously unknown works, and studies of the main artistic groups and periods. Plays are presented in performing edition translations, including (where appropriate) musical scores, and instructions for music and dance. Whenever possible the translated texts will be accompanied by videotapes of performances of plays in the original language.
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.
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