The World Upside Down, which was staged by Vsevolod Meyerhold
in 1923, concerns a failed agrarian revolution.
They discuss the approaches, techniques, work, biographical context, and contributions of Konstantin Stanislavsky, Vsevolod Meyerhold
, Nina Simonovich-Efimova, Yevgeny Vaktangov, Alexander Tairov, Michael Chekhov, Alexandra Remizova, Natalia Sats, Mar Sulimov, Anatoly Efros, Oleg Efremov, and Genrietta Ianovskaia.
Referring to the Russian tradition in staged pieces of Maeterlinck (Komissarzhevskaya, Stanislavski, Meyerhold
) and describing the original approach of Vakhtangov in the show of Le Miracle de saint Antoine, created in 1920.
The theatre was a success, with Stanislavski's method for training and directing the actors in his company described as "genius" by fellow actor and director Vsevolod Meyerhold
Though this book is hard to get hold of as a totality, I found much to enjoy in the detail: male actors fighting to the death to defend the morality of their women (Raimondo Guarino); Tristano Martinelli making a calculated use of folk culture when inventing the role of Arlecchino (Riccardo Drusi); the riches of an actor's sourcebook (Stefan Hulfeld); Konstantin Stanislavski rather than Vsevolod Meyerhold
learning from commedia about the art of improvisation (Franco Ruffini); and a scheme to turn commedia into Italian cultural heritage (Christopher Balme).
He first worked at the radical Proletkult theater as a designer, and then took the opportunity to study with his revered master Vsevolod Meyerhold
; they soon had a falling-out, however, and Eisenstein returned to the Proletkult as a director.
Before Serebrennikov, the most famous theatre director to be imprisoned was Vsevolod Meyerhold
, who was arrested under orders from Stalin and shot in 1940 and to whom Serebrennikov is now being compared.
la Electricidad no Tiene Patria"), donde a partir de las teorias biomecanicas de Gastev o Meyerhold
, "la maquina como <<arma revolucionaria>> alumbraria al <<hombre nuevo>> y acabaria con la alienacion capitalista y el arte pequenoburgues" (p.
wrote of the importance of decorative design as opposed to scenic naturalism, citing Japanese theatre: "But just as the theatre must not revert to naturalism, equally it must not become merely 'decorative' (unless the word be interpreted in the same sense as in the Japanese theatre)." (114) A few years later, Meyerhold
defined what he called the "decorative task" from the perspective of his anti-naturalist and anti-psychological theatre of the grotesque: