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Vsevolod Meyerhold

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	Vsevolod Meyerhold - Wikipedia, the free encyclopedia
		Meyerhold was born in Penza on 28 January (9 February) 1874 into the family of a Russian-German wine manufacturer Emil Meyerhold.
		Meyerhold was one of the most fervent advocates of symbolism in theatre, especially when he worked as the chief producer of the Vera Kommisarzhevskaya drama theatre in 1906-1907.
		Meyerhold was strongly opposed to socialist realism, and in the beginning of the 1930s, when Joseph Stalin clamped down on all avant-garde art and experimentation, his works were proclaimed antagonistic and alien to the Soviet people.
	en.wikipedia.org /wiki/Vsevolod_Meyerhold (1069 words)

	Wings of the Actor
		This historical misrepresentation of Meyerhold is as unjust as the attempts that occurred in the Soviet Union in the years after his murder to erase all knowledge and memory of his existence.
		Meyerhold was the first to expose the fallacy of this notion when he declared that his approach and Stanislavski's did not contradict each other, as most people believed, but in fact completed each other.
		Meyerhold, in contrast, represents the beginning of the move toward an expressionist theatre that flowered in the beginning of the twentieth century.
	members.aol.com /jcrwth/wings.htm (1138 words)

	Vsevolod Emilevich Meyerhold - English
		Among the first theoretical and practical innovations which Meyerhold introduced through his text as a theatre director, is the re-structuring of the stage, deconstruction of the stage area and the abandonment of the concept of "a box without the fourth wall".
		This stylisation leads Meyerhold to the "arrangement of the stage with flat surfaces", specifically, to eliminate the scenery and present the actor, as a pricipal mechanism for theatrical expression, as the "setting".
		Meyerhold is one of the first theatre directors of the 20th century who moved the lighting from the stage to the auditorium.
	www.unet.com.mk /mian/english.htm (1814 words)

	AllRefer.com - Vsevolod Meyerhold (Theater, Biography) - Encyclopedia
		Meyerhold was a member of the Bolshevik party, and as head of theatrical activities for the state he directed the first theater to specialize in Soviet plays.
		Meyerhold directed his actors according to his principle of "biomechanics," reducing the actors' individual contributions to a minimum, in the interests of the play as a whole.
		A victim of the Soviet purges, Meyerhold died under circumstances that remain unclear; the date of his death is open to question.
	reference.allrefer.com /encyclopedia/M/Meyerhol.html (316 words)

	Children's Literature-Meyerhold and the Circus
		Meyerhold was named head of the Petrograd division of the Theatrical Department of the People's Commissariat of Education that same year.
		Meyerhold went on to say that actors had much to learn from the circus (acrobatics, for instance), basing his observations on the fact that beginning with the late 19th century the theatre had gone into decline.
		Meyerhold and Bebutov, the two directors, introduced several circus skits in the play, which was wholly in keeping with its popular, heroic and satirical nature.
	www.marxists.org /subject/art/literature/children/texts/circus/meyerhold.html (1127 words)

	Meyerhold and the Theatre Theatrical (Site not responding. Last check: 2007-10-25)
		Meyerhold, it appeared, was one of several régisseurs at the Alexandrinsky, and to make sure of seeing his work I must seek him out in person.
		Meyerhold honored my visit, and we talked of the hardness of life and the uncertainty of the times but most of all of the certainty of the theatre and the persistence of art through the most bitter ordeals.
		Meyerhold's spirit is equally fine, but he is more aggressive and he takes the lead in their collaboration.
	www.theatrehistory.com /russian/meyerhold002.html (1214 words)

	sfbg.com \| A and E
		And not least because Meyerhold was a revolutionary in the fullest sense; there's no escaping a contemporary resonance in the play's fraught mixture of art and political action.
		Meyerhold's consequent foray into a more abstract, stylized form of staging and performance took early inspiration from Chekhov (Reid David), as well as the political turmoil surrounding Russia's 1905 revolution, and strove for a theater that would provoke thought (not merely "reproduce life") and erase the line between the stage and the street.
		Meyerhold's break with Stanislavsky three decades earlier was partly political in nature, rooted in a desire to "burn with the spirit of [his] time." Now, with the institutionalized revolution he served appropriating the arts as a means of social control, Meyerhold's very political sophistication, the irrepressible nature of his style, marks him for elimination.
	www.sfbg.com /38/15/art_stage_meyerhold.html (790 words)

	loosavor: Meyerhold & Mayakovsky - Biomechanics & the Communist Utopia
		Vsevold Meyerhold, Russia’s number one enemy of realism and possibly the most experimental and innovative theatre director to have graced this planet, had absolutely no compunction about working for the Bolsheviks, reporting for duty within three weeks of their seizing power.
		Meyerhold was of the school that saw the theatre as having a social function, as a tool for social criticism.
		In contrast to Zamyatin, Meyerhold was, as Slavoj Žižek would have it, 'ultraorthodox': his biomechanics overidentifies with "the core of official ideology" to the point of being subversive.
	loosavor.org /2006/08/biomechanics_social_engineerin.html (8930 words)

	[No title]
		This was a "golden age" throughout European culture, resolutely modern in the sense that as a cosmopolitan movement, it erased borders and nationalities; utopian, prophetic in its ambitions, announcing ethnic mixing and cultural fusion within a new, universal...
		Meyerhold hoped to tear the spectator away from a voyeuristic "non existence" which was the lot assigned by naturalism, and to implicate him/her in the work of the author, the director and the actor; to make the spectator into a "fourth creator".
		Accordingly, in Meyerhold's work, conventions will be explicitly assumed as such, theatricality will constantly be shown on stage, to the point where an actor can never completely identify with the character being portrayed, can never completely eliminate from his/her consciousness the real presence of the audience (Roubine, p.
	www.chass.utoronto.ca /~trott/courses/dra3015s/meyerhol.html (732 words)

	Shotgun Players
		Meyerhold's new method was revolutionary, but not nearly so bloody as the revolution occurring in the streets of Russia in the first half of the 20th century.
		Brown's Meyerhold suffers a fate common to central characters in a dramatic biography that renders the subject one of the least colorful people on stage.
		Auditioning for Meyerhold's company, Babanova performs her own version of "Hamlet" in which she plays all the parts wordlessly until the very end, when she whispers, "The rest is silence." Wilmurt is graceful, precise and utterly compelling.
	www.shotgunplayers.org /archive/seas12/meyerhold/reviews/oaktrib.cfm (730 words)

	Meyerhold and Mayakovsky
		Designed by Meyerhold and Vakhtangov, but budget couldn't stretch to fulfil plans (time machine is invisible, and vomiting out of bureaucrats at end done off-stage).
		Meyerhold described text as having rhythmic modulations in shifts from one episode to another and compared to Shakespeare.
		Meyerhold used it to display whole gamut of styles of theatre, from naturalism through dance to agitprop.
	freespace.virgin.net /drama.land/projects/Academic/meyerhold/meyerholdmayakovsky.html (1110 words)

	washingtonpost.com: Studio's 'Meyerhold': Fun for the Whole Proletariat
		Mark Jackson's "The Death of Meyerhold" is a play on the march, a bristling, witty phalanx of old Russian poses advancing, at its best, with the force of a tank.
		Meyerhold would drive still further, ultimately devising a system of acting known as "biomechanics," which rigorously emphasized movement and gesture.
		The play in general, and Meyerhold in particular -- played by the serious-browed Joel Reuben Ganz in a resolutely earnest performance -- seem to be surging toward an ideal, art bound inextricably with a forward-moving socialist society.
	www.washingtonpost.com /ac2/wp-dyn/A33961-2005Jan24?language=printer (783 words)

	Theatre Biomechanics with Anatoly -- Meyer
		Meyerhold as an artist of the theatre has travelled far since as a young man he originated the rôle of Treplev in Chekhov's "The Sea Gull" at the Moscow Art Theatre in December 1898, and that of Baron Tuzenbach in "The Three Sisters" in February, 1901.
		Giving Meyerhold the new theatre, which was being constructed for him and allowing him to rebuild his reputation would not have been in the best interest of the Party, unless they could be sure he could be controlled.
		Meyerhold thrived in the brief NEP period in the early 1920's when economic,social and artistic innovation were encouraged, albeit within an the emerging repressive Communist political system.
	biomechanics.vtheatre.net /meyer.html (5035 words)

	Meyerhold'95
		Finally, the past and the future met at the Russian Banquet where Meyerhold's granddaughter Maria Valentey was overcome with emotion at the sight of a gathering whose purpose was to celebrate Meyerhold, both as past master, and as an inspiration for the future.
		Meyerhold destroyed the footlights that cast shadows on the stage and separated the audience from the stage with a wall of darkness.
		Meyerhold, at this time, also introduced a new discipline of the study of gesture and motion, based on devices used by older theatrical traditions and the training of gymnasts and circus performers.
	afronord.tripod.com /biomx/meyer95.html (3408 words)

	Directors & Impressarios: Vsevolod Meyerhold's Biography
		Vsevolod Meyerhold was born in Penza in 1874.
		When the revolution occurred in 1917, Meyerhold quickly joined the Communist Party, and in 1920, he was appointed head of the theater division of the People's Commissariat for Education.
		Meyerhold himself was arrested in 1939 and shot in prison in 1940.
	max.mmlc.northwestern.edu /~mdenner/Drama/directors/1meyerhold.html (318 words)

	History Channel Search Results
		Meyerhold trained in Moscow for a theatrical career and became a member of the famed Moscow Art Theater in 1898; he headed its experimental studio in 1905.
		By then he had formulated his theories of “abstract” or “conditional” theater; actors were to be rigorously trained as puppets completely controlled by the director, and conventional staging was to be rejected in favor of abstract settings in the form of platforms and ramps.
		Meyerhold’s idiosyncratic temperament finally brought him into disfavor with the Soviet regime, and he was arrested and imprisoned in 1938; his death reportedly occurred in 1940.
	www.historychannel.com /thcsearch/thc_resourcedetail.do?encyc_id=216368 (213 words)

	A woman's life moves to a surreal stage - The Boston Globe - Boston.com - Books - A&E
		In the novel, the doppelganger, filled with remorse that he was unable to save Meyerhold, is propelled by a sense of mission: to rechannel the director's mental energies.
		Meyerhold's presence suggests the power of fantasy; seeing our experiences in relation to someone or something strange and foreign, we reconceive what is familiar and assumed.
		The gravity of Meyerhold's story, especially the account of his persecution by the Soviets, diminishes the contemporary tale.
	www.boston.com /ae/books/articles/2005/05/26/a_womans_life_moves_to_a_surreal_stage (599 words)

	Untitled Document (Site not responding. Last check: 2007-10-25)
		Mayakovsky and Meyerhold first worked together in 1918 when Meyerhold directed Mayakovsky's "Mystery-Bouffe." Meyerhold had previously worked with the realist Stanislavsky, however, their directing techniques differed extensively.
		It was "Mystery-Bouffe" that first brought Meyerhold's destruction of stage/audience boundaries together with new methods of constructivism and biomechanics.
		Meyerhold believed that theatre is not true life - therefore its performances should not mimic life but instead present the theatre world.
	newmedia.cgu.edu /stageart/bulla/Mayakovsky_Meyerhold.htm (384 words)

	Meyerhold Works - About Vsevolod Meyerhold
		Meyerhold became increasingly interested in exploring other theatrical forms in addition to the Realism/ Naturalism of the Art Theatre.
		Meyerhold regarded movement, gesture, space, rhythm and "music" as the primary elements of the "language of the theatre." He dreamed of "retheatricalizing" the theatre, of creating a theatre that would give its audience truthful images of life but that wouldn’t seek to imitate or copy life.
		Meyerhold realized that from now on an exploration of actor training was going to have to run in tandem with his exploration of form in the theatre.
	web.syr.edu /~kjbaum/aboutvsevolodmeyerhold.html (488 words)

	Talkin' Broadway Regional News & Reviews: San Francisco - "The Death Of Meyerhold" - 1/23/04
		Vsevolod Meyerhold is not that well known to the general theater-going public, but he and Stanislavski believed in psychological realism and method acting.
		Meyerhold's life was meaningful in both Czarist and Soviet Russia from 1898 to his execution by Comrade Stalin in 1940.
		Meyerhold is willfully blind, letting Russia's greatest actress Maria Babanova (Beth Wilmurt) leave his theater in favor of giving leading roles to his less talented wife (Isabelle Ortega).
	www.talkinbroadway.com /regional/sanfran/s429.html (1030 words)

	[No title]
		Meyerhold, fifteen years younger than Stanislavsky, came of age in the incendiary decade of the 1890's when the advanced progressive and revolutionary thinkers were united in their desire to bring down the existing oppressive rule of the tzarists.
		Meyerhold influenced by this thinking would at times treat the actor as marionette when he thought the human body and face were not the correct medium for reaching the audience on the new level suggested by the symbolists.
		Meyerhold took the ideas of the avant-garde and put them into practice in his theatre work during this period and came to be recognized as the leading director in the new anti-realistic style.
	rutheater.home.att.net /stana.htm (16982 words)

	Dorothy Chansky Theater Reviews - New York Theatre Wire
		Meyerhold embraced the revolution and thumbed his nose at the hypocrisy.
		The Secondstage actors are energetic, and a platform erected at the back of the playing area mimics the one famously used by the actual Meyerhold to craft productions in which athletic and abstract body work conveyed meaning as much as did the texts of any of the plays he directed.
		Likewise, Meyerhold himself (played by Joel Ruben Ganz intelligently and vigorously, although occasionally too bombastically) explains his frustration early in the play by suddenly turning to the audience to announce the absurdity of failing to include them/us in every element of the production.
	www.nytheatre-wire.com /dc05022t.htm (651 words)

	Directing Theatre -- Meyerhold Page
		Meyerhold embraced two means for delineating action-function; the first was the assumption of the facial mask and the second was the utilization of the Formalist notion of "deformation and estrangement." The twin goals of estrangement and masks were to reveal social rather than personal meaning.
		Meyerhold died almost 60 years ago, in 1940, disappearing in one of the Stalin labor camps.
		Yet Meyerhold was famous in his lifetime and had a theater bearing his name, which existed for 15 years, from 1923 through 1938.
	direct.vtheatre.net /meyer.html (2735 words)

	Meyerhold and the Theatre Theatrical (page 2) (Site not responding. Last check: 2007-10-25)
		In approaching the problem of producing a play from the old theatre, Meyerhold admits that there is no need for the exact reproduction of the architectural peculiarities of the old stages.
		Further, concerning the illuminated auditorium, Meyerhold writes: "It is unnecessary to immerse the hall in darkness either during the intermissions or during the course of the action.
		In Don Juan's scene with the peasant girls, for instance, Meyerhold has developed the amusing series of asides to first one girl and then the other in such a way that Juan describes a kind of fantastic geometric figure in his dual conversation.
	www.theatrehistory.com /russian/meyerhold002b.html (1271 words)

	Shotgun Players : Archive
		Based on the life of the great Russian theater director, Vsevolod Meyerhold, The Death of Meyerhold is an epic piece of theater about a man whose spectacular life and death rendered him as ambiguous and strangely silent in History's record as he was brash and vocal while he lived.
		Meyerhold was a politically and artistically provocative artist who made his indelible mark during the early decades of Revolutionary Russia.
		In The Death of Meyerhold, the chaotic atmosphere of early Soviet Russia is brought to life through the smoldering personalities of theatrical luminaries.
	www.shotgunplayers.org /archive/seas12/meyerhold/meyerhold.cfm (780 words)

	YUL Slavic & East European Microform Collection: The Meyerhold Theatre, 1920-1938
		The Meyerhold Theater collection offers a treasure trove of manuscripts and records from one of the most influential producers and directors of the 20th century.
		Vsevolod Emilievich Meyerhold is widely considered, along with Brecht and Stanislavsky, one of the founders and masters of contemporary theater.
		An outspoken opponent of "Socialist Realism," Meyerhold and his theater were officially denounced as "formalistic," and his theater closed in 1938.
	www.library.yale.edu /slavic/microform/meyer.html (397 words)

	Robert Silvey on the Arts: The Resurrection of Meyerhold (Site not responding. Last check: 2007-10-25)
		The Death of Meyerhold will be at the Julia Morgan Center in Berkeley, California, through January 25, presented by the Shotgun Players.
		Meyerhold was a Russian theatre director and acting theorist of the early 20th century, alternately colleague and rival of the more famous Stanislavsky.
		In other words, Meyerhold was a precursor to Brecht: theatricality is the path to truth, and truth (above all, political truth) is the goal of theatre.
	www.robertsilvey.com /arts/2004/01/the_resurrectio.html (571 words)

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