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Etudes are used for the physical training of an actor. Meyerhold believed an actor should train like a musician and the etudes were the "practicing" the body needed to do to fine tune the instrument. 

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Etudes are used for the physical training of an actor. Meyerhold believed an actor should train like a musician and the etudes were the "practicing" the body needed to do to fine tune the instrument. 

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Meyerhold believed movement to be the most powerful form of theatrical expression. He was influenced by the physical nature of the Commedia dell’Arte, circus acts and pantomime.  His actors were trained in gymnastics, circus movement and ballet. Like Jerzy Grotowski’s poor theatre, in Meyerhold’s system of biomechanics the actor was paramount and the central focus.

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Vsevolod Meyerhold’s career began as an actor performing roles in Constantin Stanislavski’s Moscow Art Theatre productions at the turn of the 20th century. Meyerhold left the Moscow Art Theatre in 1902 where he moved on to directing plays, but was invited back by Stanislavski three years later to “experiment with nonrealistic styles, realizing that one approach could not work for every play”. (Crawford). Biomechanics soon became the principle behind a non-realistic, stylised and movement-centred system of actor training developed by Meyerhold between 1913 and 1922. It contrasted clearly with Stanislavski’s system, in which the actor first created a character from within (internal character creation).

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https://www.youtube.com/watch?v=LTq99i7M0YQ

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https://www.youtube.com/watch?v=LTq99i7M0YQ

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Meyerhold became interested in how the three-dimensional character of the actor could relate to and harmonise with the two-dimensionality of the set design. Meyerhold began to experiment with the stage space and proscenium, stage design and the actors’ relationship to that space and to each other. He eventually concluded that theatre needed a new kind of actor and theatre based on movement and dynamism as the paramount factor in each production rather than the text.

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Meyerhold became interested in how the three-dimensional character of the actor could relate to and harmonise with the two-dimensionality of the set design. Meyerhold began to experiment with the stage space and proscenium, stage design and the actors’ relationship to that space and to each other. He eventually concluded that theatre needed a new kind of actor and theatre based on movement and dynamism as the paramount factor in each production rather than the text.

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Each movement in biomechanics was important and deliberate – superfluous movements on stage were eliminated.

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Each movement in biomechanics was important and deliberate – superfluous movements on stage were eliminated.

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Meyerhold’s biomechanics instructed the actor to develop a character from without, first employing external movements.

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Meyerhold’s biomechanics instructed the actor to develop a character from without, first employing external movements.

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Biomechanics became the principle behind a non-realistic, stylised and movement-centred system of actor training developed by Meyerhold between 1913 and 1922.

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Biomechanics became the principle behind a non-realistic, stylised and movement-centred system of actor training developed by Meyerhold between 1913 and 1922.

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Theatricalising the Grotesque

Stylisation

Restrictions

Double narrative

Montage

Charaterisation

Use of props

The grotesque

Active and passive

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Meyerhold and Design

the movement of individual performers

the physical relationship between the characters

the composition of any grouping or sub-groupings

the atmosphere of a particular scene

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Basic Skills of Biomechanics

Precision - based on the development level of precision.  He looked to the practice of circus performers and acrobats who depend on it for their own safety.

Balance - A balanced actor is a confident actor and a confident actor is someone who wants to share their talents with the audience.

Coordination _ You need to mater your own individual moving parts.  from a group perspective your individual movements need to operate in harmony with the rest of the ensemble.

Efficiency - Never waster energy on stage.

Rhythm - Rhythm was the glue that held everything together.  He used a tripartite rhythm made up of three parts: otkaz -preparation; posil - action; and tochka - end point.

Expressiveness - is the means by which the actor communicates with the audience.

Responsiveness - An actor needs to be permanently switched on or responsive to what is happening to you.

Playfulness and Discipline _ two sides of the same coin, in a delicate balance with one another.

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Meyerhold believed in a presentational style of acting, as opposed to Stanislavski's representational style of performance. – Biomechanics soon became the principle behind a non-realistic, stylised and movement-centred system of actor training developed by Meyerhold between 1913 and 1922

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He focuses on the physical abilities of the performers as a substitute for sets and props, often known as total theatre. He was influenced by Ancient Greek theatre , Japanese Noh and Kabuki , Shakespeare, East End music halls and his Jewish heritage.

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Vsevolod Emilyevich Meyerhold was a 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.