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Few artists have left as great a mark on twentiethcentury theatre as has theRussian director Vsevolod Meyerhold. With ample justification he has beencalled the Picasso of the modern theatre. Like that great painter Meyerholdwas a visionary a ceaseless experimenter with new forms and techniques theleader of an aesthetic revolution.Meyerholds productions were an encyclopedia of theatrical historyincorporating everything from circus tricks to highly stylized elements of theKabuki theatre. In the twenties and thirties Meyerholds theatre became amecca for those seeking new theatrical ideas. There was hardly a figure ofimportance in the theatre at that time who did not come to Moscow to see hiswork. And many including Brecht stayed on to study.Unlike Stanislavsky Meyerhold was not a theoretician. He left behind no largebody of theoretical writings summing up his many years of experience in thetheatre. What do remain and must take the place of both Meyerholds theoreticalwr «
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