Brief biography Meyerhold

Meyerhold worked as a responsible leader and head of the artistic unit, chief director in the City General. Born in Penza. He played in amateur performances. Having left the Faculty of Law of Moscow University, he entered the 2nd Course of the Music and Drama School of the Moscow Philharmonic Society in the class of Vl. В г. Книппер-Чехова, М. Савицкая, Е. Мунт и др.

Толстого, принц Арагонский «Венецианский купец» У. Мейерхольд покинул труппу МХТ и возглавил как режиссёр странствующую по российской провинции группу молодых актёров, впоследствии получившую название Товарищество новой драмы, в состав которой вошли И. Певцов, А. Канин, Н. Костромской, А. Zagarov et al. For three seasons, Meyerhold played about roles. In - gg. The first performances were created “according to the Moscow Art Theater,” but gradually the director found new techniques, creating his own theater.

Upon learning of Meyerhold’s stage experiments, K. Stanislavsky in the city, despite the delight of Stanislavsky, the audience of the production was not shown by Stanislavsky and did not dare to officially open the studio.

Meyerhold continued to experiment, returning to the partnership of the new drama Tiflis, Poltava and others. Komissarzhevskaya invited Meyerhold to St. Petersburg the main director of her theater. Here in one season, Meyerhold has released 13 performances that caused lively discussions. In Gedda Gabbler, Ibsen and “Beatrice’s sister” Meterlink, the director demonstrated the structural principles of the symbolist performance he found: a shallow scene, the decoration of the picturesque panels, the slow movements of the actors, the sculptural expressiveness of gestures and the poses, the cold non -emotional intonation.

In the "Human Life" by L. Andreev Meyerhold developed a sophisticated light score of the performance. In the "Balaganchik" A. Blok Meyerhold ironically rethought symbolist imagery. Komissarzhevskaya was not easy to work with Meyerhold, and in the city of Meyerhold worked in St. Petersburg imperial theaters, and mainly in Alexandrinsky. At the same time, under the pseudonym, Dr.

Dapropetto participated in small studio, including amateur, home productions. In imperial theaters, Meyerhold, in collaboration with artist A. Golovin, was engaged in a program of peculiar theatrical traditionalism. The artists used the stylization method to update the ancient stage forms - the “Don Juan” by Moliere, the “persistent prince” by P. Kalderon, the “thunderstorm” by A.

Ostrovsky, the “Masquerad” by M. Lermontov in parallel with the classical, Meyerhold put in the Alexandrinsky Theater and modern drama: “Living Troupe” by L. Tolstoy, “Concentors of Life”, “Combacks of Life” F. Solloguba, “Green Ring” by Z. Gippius of Wagner, “Orpheus” K. Gluck, “Stone Guest” by A. Dargomyzhsky during this period Meyerhold also fascinated studio experiments, which were based on the idea of ​​a platform theater.

The director collaborated with the artists N. Sapunov and S. in the pantomim of Schitzler “Sharf Colombina” House of Intermedies,, two editions of the play “Harlequin, Stedatay’s wedding” according to the script by V. Solovyov,, Blokov’s “Stranger” and “Balaganchik”, the Tenishevsky school, Meyerhold tried, returning to the acceptance of the actors Games in the spirit of an old Italian comedy of masks, rethink them in a modern theatrical space.

In the classroom in the studio at the Borodinskaya and in his own journal Love for Three Oranges, Meyerhold paid a lot of attention to Harlequinade, the Russian Balalan, the Circus, Pantomime. He developed the idea of ​​educating an actor who confidently own his body, a voice capable of fulfilling any task of the director at the right pace and rhythm. In the book “On Theater”, he theoretically substantiated the concept of the “conditional theater”, opposed to stage naturalism.

After October, Meyerhold, inspired, as it seemed to him, opened with new opportunities, became close to Vl. By the first anniversary of the revolution, he put in Petrograd his “mystery-buff”, using the means of expressiveness of the field spectacles, folklore elements, the traditions of booth jokes and circus clowning. After his appointment, the head of the theater department, Theo Narcom Proza, Meyerhold declared war on the old academic theaters, believing that groups such as the Small Theater or Moscow Art Theater were not able to find a common language with new reality.

Due to such radical proposals in A. Lunacharsky, removed him from the leadership of Theo. In parallel, creating the theory of a new theater model, Meyerhold from the x. The director set the Zori E. Verkharna, with V. Bebutov and the second edition of the Mystery-Buff, but these performances did not last long. In the productions of the “generous cuckold”, F. Kromelinka and the “death of Tarelkin” by A.

Sukhovo-Kobylin Meyerhold, for the first time, used the methods of stage constructivism and the “circus of the theater”. Its actors underwent special training in the “workshop” in –31 it was called Gectemas - a state experimental theater workshop, in which a biomechanics was the main subject. Meyerhold sought to give the spectacle the geometric accuracy of the form, the acrobatic lightness and dexterity, and the sportslage.

In gg.Meyerhold led the Revolution Theater, where in Erdman in the city of Meyerhold put in the genre of modern satire. From the middle of X in the art of Meyerhold, tragedy motifs have more and more. In the new productions of Mayakovsky’s plays - “Blop” and “Bath” - the director returned to satirical intonation. From the Soviet drama of those years, Meyerhold released the "Commandarma-2" I.

Selvinsky, "last decisive" aircraft. Vishnevsky and “entry” by Yu. Herman Meyerhold set the “lady with camellias” by A. Dumas-Sin-a performance, which sounded a clearly tangible dissonance of time and became the legend of the Russian theater. In the same year, he put in the Leningrad Small Opera Theater the opera P. Tchaikovsky “Peak Lady”. Many ideas, including the production of Hamlet, were not able to carry out Meyerhold.

In E, the director’s persecution in the press began, his art was called alien to the Soviet people and hostile Soviet reality. In July, Meyerhold was arrested, and in February, he taught the theater not an observer of life, but to invade her thick, to speak clearly, loudly, loudly. He showed how important the theater is to occupy a clear, definite position in social events and in the art process.

He instilled a taste for the search, to innovations, to creative restlessness. He gathered a large group of students and followers who remained faithful to the lessons of the master in all subsequent years. Over the three centuries, much has changed in the life of the country and in the biography of the theater, the name Meyerhold was either glorified, then hushed up, then went out, then trampled into the mud, but it always remained in the memory of everyone who brought to work in this theater - the theater of the revolution - the theater of drama - the theater named after Vl.

Victor Dubrovsky.