PaR Questions:

  • Is there such a thing a moving on stage … is the stylisation necessary a must to reach an abstract dimension metaphorical space? Or the opposite … the stage allows for this stylisation … encourages it… helps it supports it too?? Or more ??
  • Is his method a reaction to German expressionism mixed with post-rev modernist constructivism that puts the body at the centre of development? Is this totally opposed to the theatre of late 1800s and aiming to reach a new plane of creativity? Does it fully discard recent tradition to make room for new means of expression?
  • It is conscious method or a method that constantly forces a conscious evaluation, too conscious not to be contrived? Driven outwards not inward toward the psyche … Does the actor become ultimately a puppet?

 

rhythm

  • in biomechanics, this is the three-fold structure of otkaz, posil and tochka. More generally it is the conscious, musically-inspired composition of an action, a scene, or a whole production. Rhythm is everything in Meyerhold’s theatre.

otkaz

  • biomechanics terminology for the first action in the tripartite (three-fold) rhythm of each action in the études. Otkaz is the preparation before the action itself, often signalling a small movement in the opposite direction.

posil

  • biomechanics terminology for the second action in the tripartite (three-fold) rhythm of each action in the études. Posil, literally meaning ‘to send’, is the action itself – of throwing, slapping, shaking etc

tochka/stoika

  • biomechanics terminology for the third action in the tripartite (three-fold) rhythm of each action in the études. Tochka, is the moment of settling and pause after the action itself. Never to be thought of as a final point, it always anticipates further action. Some practitioners use the term stoika, literally ‘stance’, instead.

stylisation

  • Meyerhold’s term for a theatre that rebelled against the style of naturalism. Stylised theatre celebrated its own theatricality, and did not try to conceal it. Biomechanics was a training devised to deliver Meyerhold’s model of stylisation: rhythmically exact, consciously choreographed and exploiting a direct and playful relationship to the audience

Set of five etudes formalised in 1922 though started in 1913

  1. Throwing a stone
  2. Shooting the bow 
  3. The leap to the chest
  4. The stab to the chest
  5. The stab

Three fold rhythm

I … ras … dva

Stoika (neutral) .. otkaz (reactive) posit (active) tochka (pause) … Stoika (neutral) 

Intention action end-point

  1. Gain a first physical experience of moving biomechanically
  2. Begin to learn the rhythmic principles of biomechanical action
  3. Begin to appreciate how each étude is broken down into component parts: in this instance: ‘Preparation to Shake’ and ‘Shake’

Theatre of Stylisation – 5 principles:

  1. emphasis on the actor – physicality
  2. imagination of the spectator
  3. theatre of plasticity and expression
  4. a theatre of rhythm
  5. carefully constructed work as artifice

Biomechanics is the way/means to realise that. Result is the training in physicality not psychology.

 

Location: online training