35,594 matches
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șo “thoroughly trained that he could respond immediately, aș if by reflex action, to the needs dictated by his part”,[4]</a> and technological: “în future the actor must go even further în relating his technique to the industrial situation. For he will be working în a society where labor is no longer regarded aș a curse bus a joyful, vital necessity.”<a title="" href="# ftn5">[5]</a> Meyerhold often went with his students to the zoo to study and imitate
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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a society where labor is no longer regarded aș a curse bus a joyful, vital necessity.”<a title="" href="# ftn5">[5]</a> Meyerhold often went with his students to the zoo to study and imitate animals,[6] because the need for change did not jut relate to forms of acting but also to methods for actors to train the body în a completely different way from that done at that time. By agitating the animal, certain dispositions în the body can
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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vital necessity.”<a title="" href="# ftn5">[5]</a> Meyerhold often went with his students to the zoo to study and imitate animals,[6] because the need for change did not jut relate to forms of acting but also to methods for actors to train the body în a completely different way from that done at that time. By agitating the animal, certain dispositions în the body can emerge and new actions can be performed on stage. By identifying with the animal
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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any form of work with the aim of maximum productivity.”[7] By focusing on the theatrical unity of time, space and corporeality, he wanted to focus paradoxically on the social and political Soviet experience and to offer analyses and solutions for daily problems. That was the primal purpose of biomechanics, which can be summarized în these technical terms: “a gymnastics based upon: preparation for action-pause-the action itself-pause-and its corresponding reaction.”[8] În constructing the performing event, directors like Meyerhold depend on
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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wanted to focus paradoxically on the social and political Soviet experience and to offer analyses and solutions for daily problems. That was the primal purpose of biomechanics, which can be summarized în these technical terms: “a gymnastics based upon: preparation for action-pause-the action itself-pause-and its corresponding reaction.”[8] În constructing the performing event, directors like Meyerhold depend on the actor în a corporeal way, they are bodily-connected partners: their work together is the process of what Donna Haraway calls “becoming with
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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worked ouț on the exteriority of the body to the point that control becomes superfluous or în Meyerhold’s own words: “I don’ț know how to stage the play but one thing I do know, there is no need for discussion. What we need to do is get up on the stage and act.”[10] The utopian purpose for Meyerhold was that his so-called joyful experiments would become the propriety of all and theatre would finally dissolve into everyday life
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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own words: “I don’ț know how to stage the play but one thing I do know, there is no need for discussion. What we need to do is get up on the stage and act.”[10] The utopian purpose for Meyerhold was that his so-called joyful experiments would become the propriety of all and theatre would finally dissolve into everyday life. His literary adviser, Ivan Aksyonov, explained it later: “the theatrical performance was to be given up în favour of
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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light, plenty of high spirits, plenty of grandeur, plenty of infectious enthusiasm, unlaboured creativity, the participation of the audience în the corporate creative act of the performance.”[14] Actors don’ț need to identify with the characters, to show empathy for their role or even to have emotions în their activity “but to consciously comment on the character by remaining clearly distinct from it.”[15] For Meyerhold, corporeality and movement are not produced by emotionality but are its source: through biomechanics
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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the performance.”[14] Actors don’ț need to identify with the characters, to show empathy for their role or even to have emotions în their activity “but to consciously comment on the character by remaining clearly distinct from it.”[15] For Meyerhold, corporeality and movement are not produced by emotionality but are its source: through biomechanics, the actor can achieve those “correct postures and moves” that miraculously will “lead naturally to an emoțional state în the actor and, by extension, affect
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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productions presented to the public în 1922, Fernand Crommelynck’s The Magnanimous Cuckold and Sukhovo-Kobylin’s The Death of Tarelkin, two grotesque farces with bitter endings. The constructionist artists Lyubov Popova and Varvară Stepanova designed the props and the machines for acting</i>, which were placed on the bare stage.<a title="" href="# ftn20">[20]</a> During performances, actors were using and moving the enormous constructions dressed în working uniforms, employing acrobatic skills and precise coordination în struggle with the mechanical
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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with the Soviet audience and didn’ț fit the “current tasks of Soviet society.”[ 21] By employing utilitarian production aesthetics, where props were called constructions and the biomechanical acting a laboratory of the new mân</i>, Meyerhold was looking actually for a political legitimating theory. A major characteristic of the Russian avant-garde was the socially useful function of any artistic endeavor. And it was dogmatically respected by Meyerhold, together with a modernist deferral în the face of the actual failure of
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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în reality,” Meyerhold was aware of the theatrical function of the event, the real objects hâd a direct agitation function exactly by expressing something beyond their everyday function. Even if actors’ actions are real, difficult and acrobatic and not signs for ficțional actions, the theatricality of the performance is given by the parade or exhibition style. Helen Krich Chinoy observed a remarkable connection between different aesthetics based on a rather new element at that time: “The personal distillation of the director
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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of the performance is given by the parade or exhibition style. Helen Krich Chinoy observed a remarkable connection between different aesthetics based on a rather new element at that time: “The personal distillation of the director was the modern substitute for the whole complex of social and theatrical factors that hâd once made theatre the great collective art. Reinhardt illustrates this process în its baroque, Wagnerian aspect. Vsevolod Meyerhold illustrates it în its constructivist, Marxian aspect.”[23] Nevertheless, the spectators, mainly
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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this process în its baroque, Wagnerian aspect. Vsevolod Meyerhold illustrates it în its constructivist, Marxian aspect.”[23] Nevertheless, the spectators, mainly workers, were perplexed and offended by the strânge staging and the non-linear narrative. Soviet critics followed them by asking for simple plots, characters that are convincing and easy to identify with, a positive treatment of Soviet heroes and life aș it is.[24] Meyerhold's exploration of theatricality could not answer the high demands of socialist realism, the only artistic
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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the ideological transformation and education of the workers în the spirit of Socialism.”[25] The new actor of the realist theatre was first of all a political activist, able to recreate the language and every-day life of the working class for spectators ready to emulate it: under the social mask on stage there was the visible face of the worker. This new direction hâd the pretense to create a new socialist consciousness where the revolutionary avant-garde presumably failed by only confusing
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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was brutally manifested în the closing of Meyerhold’s theatre and his arrest. These directions were not forms of lack of official favors but were generated by a growing hostility towards modernism that was seen by important figures like Gorky, for example, aș a manifestation of the corruption and decadence of Western capitalism. Meyerhold was a direct victim of the major campaign of the mid-1930s against modernism în all branches of art, the modernist theatre was fit only for “the perverted
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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like Gorky, for example, aș a manifestation of the corruption and decadence of Western capitalism. Meyerhold was a direct victim of the major campaign of the mid-1930s against modernism în all branches of art, the modernist theatre was fit only for “the perverted tastes of the bourgeois audience” and was perceived aș a dangerous trend în Soviet culture, emerging from the demonized “same source aș leftist grotesquerie în painting, poetry, pedagogy and science”, the same obsession with novelty and shock which
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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care nu sunt convinși că merită. Traducere din limba engleză de Marius Bogdan Tudor[:en]by Yvette Feuer</em> My name is Yvette Feuer and I am an actor and what we call în Hungary, a dramă pedagogue. After working for more than 10 years aș an actor în the alternative theatre field în Budapest, Hungary, în the year 2001I left for the UȘA. I was extremely lucky and happy to receive the Fulbright Grant and it enabled me to do
Clovnii () [Corola-website/Science/295693_a_297022]
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is Yvette Feuer and I am an actor and what we call în Hungary, a dramă pedagogue. After working for more than 10 years aș an actor în the alternative theatre field în Budapest, Hungary, în the year 2001I left for the UȘA. I was extremely lucky and happy to receive the Fulbright Grant and it enabled me to do what I really wanted to do: to start again and study, study, study. I went to a small, liberal arts college
Clovnii () [Corola-website/Science/295693_a_297022]
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graduated în 2003 receiving an MFA în Theater. Sarah Lawrence College, located half an hour from New York City, was a unique place with a strong and unified value system that hâș given me quite a substanțial amount of spiritual nourishment for my artistic and personal life, and for which I am grateful to the present day. It hâș instilled în me the following believes: 1. I aș an artist should believe în myself (which pedagogical method is contrary to the method
Clovnii () [Corola-website/Science/295693_a_297022]
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Theater. Sarah Lawrence College, located half an hour from New York City, was a unique place with a strong and unified value system that hâș given me quite a substanțial amount of spiritual nourishment for my artistic and personal life, and for which I am grateful to the present day. It hâș instilled în me the following believes: 1. I aș an artist should believe în myself (which pedagogical method is contrary to the method în Hungary I have been accustomed to
Clovnii () [Corola-website/Science/295693_a_297022]
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am, what I want and it is my responsibility towards myself to nourish my talent and create if this is what I want to do. 3. I should be aware that it is also my responsibility to use my art for the benefit of society; to make Planet Earth a more livable, just and equal place. (I am still working on the first two beliefs, but they have managed to completely convince me about the third one.) The theater department hâd
Clovnii () [Corola-website/Science/295693_a_297022]
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musician, we have been to more than 110 schools and/or villages and more than 12.000 people have seen uș. We have regular dramă workshops în a small village called Bódvalenke, and every summer we do a dramă câmp for 15 kids, most of them returning customers în a poor North-Eastern town called Ózd. For four years now în a row we make a big donation gathering event for Christmas for a very poor region of the country. Our work
Clovnii () [Corola-website/Science/295693_a_297022]
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12.000 people have seen uș. We have regular dramă workshops în a small village called Bódvalenke, and every summer we do a dramă câmp for 15 kids, most of them returning customers în a poor North-Eastern town called Ózd. For four years now în a row we make a big donation gathering event for Christmas for a very poor region of the country. Our work hâș been made possible șo far mainly by the Open Society Foundation, but we also
Clovnii () [Corola-website/Science/295693_a_297022]
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village called Bódvalenke, and every summer we do a dramă câmp for 15 kids, most of them returning customers în a poor North-Eastern town called Ózd. For four years now în a row we make a big donation gathering event for Christmas for a very poor region of the country. Our work hâș been made possible șo far mainly by the Open Society Foundation, but we also have hâd other resources. It is not voluntary work, even though part of our
Clovnii () [Corola-website/Science/295693_a_297022]