By Edward Braun, Jonathan Pitches
Meyerhold on Theatre brings jointly in a single quantity Vsevolod Meyerhold's most important writings and utterances, and covers his complete occupation as a director from 1902 to 1939. It includes a finished choice from all released fabric, unabridged and translated from the unique Russian, up to date and supplemented with a severe observation concerning Meyerhold to his interval and eye-witness debts describing all his productions. The e-book is illustrated with photos of Meyerhold's designs and productions.
Within this diversified number of occasionally dense, occasionally lyrical, and consistently interesting writings, Meyerhold emerges from this publication as a forerunner of such administrators as Brecht, Piscator, Planchon and Brook, a constant enemy of naturalism and a ideal exponent of overall theatre whose impression remains to be felt through the theatre of today.
This fourth version incorporates a new advent via Prof. Jonathan Pitches, which is helping to demystify a number of the terminology Meyerhold and his affiliates used, and exhibits the basic connection among tradition and politics represented in his lifestyles and art.
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Extra info for Meyerhold on Theatre
Chekhov’s art demands a theatre of mood. The Alexandrinsky Theatre’s production of The Seagull13 failed to catch the mood which the author demanded. The secret lies not in the chirping of crickets, not in dogs barking, not in real doors. When The Seagull was performed by the Art Theatre in the Hermitage Theatre14 the stage machinery was not yet perfected and technology had not yet extended its tentacles to all corners of the theatre. The secret of Chekhov’s mood lies in the rhythm of his language.
He must establish the exact style of sleeve worn in the time of Louis XV and how the ladies’ coiffures during the reign of Louis XVI differed from those of Louis XV’s time. Ignoring Somov’s4 method of stylizing an epoch, he goes in search of fashion magazines of the very year, month and day on which, according to his calculations, the action took place. That is how the technique of copying historical styles was born in the naturalistic theatre. With such a technique it is natural that the rhythmical construction of a play like Julius Caesar with its precisely balanced conflict of two opposing forces is completely overlooked and so not even suggested.
My own study, again titled Vsevolod Meyerhold (2003), was one of the first volumes in the new Routledge Practitioners series edited by Franc Chamberlain. Introduction 15 Beyond this short publication history, two significant and related developments have brought new understandings and challenges to Meyerhold studies. The first is the internationalization of his practical work by Russian teachers of biomechanics; the second the dawning of the digital age in actor training and in Meyerhold’s particular kind of physical theatre.