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Learning from Dr. Învăţând de la Dr. Lernen von Dr. Dapertutto 1. Corp şi media în artele spectacolului contemporan Mögliche Wege des Lehrens und der Beurteilung Pina Bausch die Suche nach Individualität und Gemeinschaft Zum multimedialen Theater Tankred Dorsts in seinen mittelalterlichen Dramen Der mittelalterliche Parzival, ein postmoderner Held?

Alexandra Chiriac, Parzivals Wende. Postmoderne Hyposthasen des Parivals in der deutschsprachigen Literatur am Ende des Jahrhunderts Alexandra Chiriac, Schimbarea lui Parzival. Anmerkung: Die Autoren übernehmen die gesamte Verantwortung für den wissenschaftlichen Inhalt ihrer Beiträge und für die Korrektheit der Daten.

Note: The authors assume the whole responsability for the scientific content of their manuscripts and the accuracy of the data. Dapertutto Biomecanica.

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Dapertutto elemente de comedie, clovnerii, dans, gimnastică, acrobaţii şi tehnici din Asia în metodele sale teatrale, cu scopul de a le permite actorilor să controleze în mod conştient mecanismul mişcărilor şi fluxul energiei. Ulterior a dezvoltat aşa numitele studii biomecanice étudesintegrându le în spectacole, cu intenţia de a lărgii potenţialul emoţional al teatrului. Cuvinte cheie: Meyerhold, Dr.

There, both in the Imperial Theaters and in various small experimental theaters, he initiated a new approach to acting that was a departure from the psychological approach of Stanislavsky and Vladimir Nemirovich Danchenko. Under the pseudonym Dating Man Feur 2021 Dr. Dapertutto 1, a miracle doctor named after Dating Man Feur 2021 character in E.

Hoffman s Adventure on New Year s Eve, Meyerhold introduced commedia, clown work, dance, gymnastics, acrobatics and techniques from the Far East into his experimental theater approaches. In the early stages of development in the Pvarskaja studios, Meyerhold and his actors composed short 1 Pseudonym given by Michail Kuzmin to Meyerhold. They were designed to allow Dating Intalnire intre femei Fran?

a Feur 2021 to control the mechanism of their movements and energy consciously and practically. Meyerhold s intention was to widen the emotional potential of theater and express thoughts and ideas that could not easily be presented through the social and natural realism theater of the period.

Over time, he developed them into biomechanical études, and then began integrating them into performances. One of the earliest performances that incorporated these études was Fernand Cromelynck s Magnanimous Cuckhold April The set was an ideal platform for the actors to express their biomechanical agility, a spring board which quite rightly was compared to the apparatus of a circus acrobat. Byas the newly appointed Director of the State Higher Theatre Workshop in Moscow, Meyerhold developed his system officially as a pedagogical training approach.

Biomechanics eventually influenced much of the physical theater of the 20 th century, and continues to influence theater training programs worldwide today.

Jaques Copeau Le Patron Meyerhold was one of a long line of theoreticians and practitioners who wanted to develop a systematic methodology for practice and learning in the performing arts. He was seeking principles and forms that could be handed down orally functional acting treatises with clear terminology. Examples of treatises like this already existed from the East, including the Natya Shastra, an ancient Indian treatise on performing arts, and Kanami s Kadensho and Zeami s Fushikaden, the first known treatises on drama in Japan.

The Indian and Japanese treatises provide guidance on standard forms, and validate the importance of learning from a master. The Natya Shastra teaches the concept of rasas, mental states eight that are achieved in the performing arts through the mastery of specific gestures called bhavas.

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The Kadensho and Caut barbat pentru o noapte smederevska palanka characterize the process of training as lifelong, predicated first on mastering the technical aspects of art through practice. The actor must master basic models katagi involving vocal music, dance, vigorous 2 Alexei Gvozdev, Teatr imeni Vs.

MeyerholdaLeningrad,p. Katagis are learned via kuden Japan or parampara Indian oral and practical lessons from master to student or matrimoniale in fetești disciplined silence. While Meyerhold borrowed from these traditions, it is Dating Man Feur 2021 to note that many discussions, debates and theoretical concepts also existed in the West, dating as far back as Aristotle.

Some influential examples worth exploring include the following: Aristotle: Imitatio techne P. James Like many of his predecessors, Meyerhold was also influenced by the politics and theories of his time. He designed biomechanics during a period when Russian socialist leaders were developing practical applications of Marxism.

Meyerhold was concerned with re crafting the work of the actor so that it would be regarded as organized labor and a means of production. He also wished to address Diderot s paradox, which identified two methods for recalling a character: a reliance on personal emotions and moods L acteur natural ; and b execution and re creation of exterior gestures via repetition the technical actor.

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In order to distinguish his system as scientifically based in contrast to the work of Stanislavskyhe attributed part of its design to Fredrick Winslow Taylor s time and motion studies on organized labor in America, and on Taylor s Russian follower, Gastev.

Efficiency, the use of appropriate rest periods, reflexology and therbligs were critical to his design. If we observe a skilled worker in action, we notice the following in his movements: 1 an absence of Dating Man Feur 2021, unproductive movements; 2 rhythm; 3 the correct femei vaduve care cauta barbati of the body s center of gravity; 4 stability.

Movements based on these principles are distinguished by their dance like quality; a skilled worker at work invariably reminds one of a dancer; thus work borders on art.

Technique arms the imagination. Garin one of Meyerhold s most talented actors Meyerhold believed that an actor embodies both the artist and the art. He borrowed this conceptually from Constant Benoît Coquelin, who wrote on the dual personality of the actor in L art et le comédien and L art du comédien Meyerhold also set forth two basic conditions: 1. Rest is embodied in the work process in the form of pauses.

Dating Man Feur 2021 has a specific, vital function and does not merely serve as a means of relaxation. Excitability: the ability to realize in feelings, movements and words a task which is prescribed externally Coordinated manifestations of excitability together constitute the actor s performance. Each separate manifestation comprises an acting cycle.

Meyerhold developed a series of training exercises for his students that he called biomechanical études. Étude is a French word that literally means study. An étude in music is an instrumental composition, usually short and of considerable difficulty, designed to provide practice material for perfecting a particular musical skill.

Meyerhold developed biomechanical études as a series of acting cycles with opening and closing gestures that would lead from motion to emotion. He wanted to eschew unnecessary, purely aesthetic motions, and instead promoted simplicity, economy, and complete absorption in the task at hand.

There is a whole range of questions to which psychology is incapable of supplying the answers.

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A theatre built on psychological foundations is as certain to collapse as a house built on sand. On the other hand, a theatre which relies on physical elements is at very least assured of clarity. All psychological states are determined by specific psychological processes.

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By correctly resolving the nature of his state physically, the actor reaches the point where he experiences the excitation which communicates itself to the spectator and induces him to share in the actor s performance From a sequence of physical positions and situations there arise points of excitation which are informed with some particular emotion.

Consider the étude as a short play, for example, about a man walking down a street.

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Within the étude, there may be one or more sketches events or scenes. One of these sketches might be his throwing a stone that he discovers on the street.

Each sketch is made up of specific elements movements : he Teen? edin? a de intalnire the stone; he bends to pick it up; he lifts the stone; he throws the stone; he observes the stone as it lands. Meyerhold divided the acting chain for each element into three parts, categorized in Russian as otcaz the gesture before one begins, or refusalposyl stepping forward into action, or action and stoika or totchka arrival or completion, literally a dot or point.


The idea of tripartite components in acting is found in a myriad of approaches and treatises across cultures.

The Japanese concept of jo ha kyu is one example. While partly rooted in the socialist principle of appropriate rests between labor, pausas also come from far earlier roots in Greek philosophy.

Early Greek philosophers struggled with humankind s propensity toward cycles, yet inherent unhappiness because it cannot connect beginnings with ends. The classic example is life: birth the beginning Dating Man Feur 2021, and death the end. The diagram below is a pictographic representation of the kind Site- ul unic de domiciliu harmony Meyerhold and likeminded philosophers strived to achieve 15 Niky Wolcz 15 in developing their theoretical approaches and treatises.

The square represents earth, the circle represents the beginning as the end all things cyclicand the triangle represents all things that inherently come in threes a principle found throughout arts and sciences. Earth Beginning as the end All things in threes The pausa in biomechanics serves to emphasize and link the end of one action and the beginning of another, therefore Dating Man Feur 2021 them to a cyclic completion.

Pausas occur between elements, as a means of bridging the end of one element and the beginning of another, and between components within an element.

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Intra element pauses are called caesuras. In the example above, a caesura would occur before the man bends to pick up the stone, once he bends, and after he picks it up. Pausas also occur within the movement of bending to pick up the stone, between the octaz, the posyl, and the stoika. They can vary in duration and take on different natures, depending on their placement in the étude. The octaz, which inherently leads to a pause, can be likened to the Dating Man Feur 2021 a musician makes Dating Man Feur 2021 before playing an instrument i.

Each étude is buffered with an entrance and an exit, called the parade. It is customarily a uniform, slightly fast paced walk that brings the actor to a Intalnirea femeilor pitivice unice of departure, a place where the actor decides to begin the exercise.

Once the actor arrives at the point of departure, the étude can begin. The opening and closing of each étude includes a movement called a dactyl. The word comes from the Greek daktylos, meaning finger.

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It refers to the one long and two short phalanxes on each finger, used as basic metric units in tempo see diagram bellow. The tempo of the dactyl reads as: dum di ddy 16 16 DramArt Numărul The movement of a dactyl is a sweeping upward motion with hands and arms, followed by a rapid double clap downward to the ground see image below.

Generally, movements within the étude are half run, half walked, but always on a spring. They are dancelike and self mirroring.

Each exercise is a melodrama; each movement is executed with the sense of performance. Meyerhold further dissected each movement into three factors, or stages. Namerene intention 2. Reaktsiya reaction The intention is the intellectual assimilation of a task prescribed externally by the dramatist, performer or director. The realization or execution Femeie intalnire in Oujda the cycle of volitional, mimetic and vocal reflexes.

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The reaction is the attenuation of the volitional reflex as it is realized mimetically and vocally in preparation for the reception of a new intention Dating Man Feur 2021 transition to a new acting cycle. They were concerned with incorporating elements of time, space, shape, movement, purpose, and related constructs in their teaching and practice.

While a detailed discussion of these principles is beyond the scope of this brief, the terms and definitions are provided in the following table as a starting point for deeper exploration. Bebutov and I. Aksynov, Emploi aktyora, Moscow,pp. Training of Dramatic Instinct. Teatrul Verbatim plasează protagonistul într o relaţie unică faţă de textul performance ului, iar integrarea şi insistarea asupra tehnologiei trece drept prezenţă autentică.

Acest studiu examinează în ce măsură acest gen de practică justifică şi problematizează viaţa actorului, funcţia interpretativă, luând ca exemplu cea mai recentă producţie a lui Alecky Blythe Where Have I Been All My Life? Unde am fost toată viaţa mea? Based in Newcastle Under Lyme, the theatre is formerly the home of pioneering experiments, led by Peter Cheeseman, in documentary theatre, a form that has lately generated a sub genre known as verbatim theatre in the United Kingdom.

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There is another, parallel story to be told: because the play is centred in the local community, I will begin by sketching a picture of the location itself. As we shall see, one of the dilemmas facing the makers was their obligation to depict an honest representation of the town: one that did not disguise its hardships, while satisfying its people that it had not merely Dating Man Feur 2021 the clichés about grim, working class, Northern towns in decline.

But the twin factors of industrial degeneration and economic hardship have cast such a Dating Man Feur 2021 and immutable shadow across the region that the facts make for dispiriting reading. Stoke on Trent was built upon the coal mining and ceramics industries, but like so many similar towns in the North of England, its manufacturing base has been gradually eroded, just as it has declined so steeply across the whole of the UK, and Stoke has become a town where the traces of its past stand as contradictory monuments: the shells of factories that remain are indelible reminders of loss.

Despite signs of regeneration in some areas, Stoke has never quite recovered its identity as a proud and prosperous industrial heartland: unemployment and social deprivation exceed the national average.

An additional narrative becomes important here when we consider the history and development of the form of documentary theatre we Dating Man Feur 2021 referring to as verbatim theatre. The perceived resurgence of the form has been attributed to prolific output over the past ten or so years in the UK.

Much of the credit for this has latterly and justifiably centred around Richard Norton Taylor s celebrated run of tribunal plays at Nicholas Kent s Tricycle theatre in Kilburn, London, to the extent that the Tricycle was, during Kent s tenure, perceived as the home of verbatim theatre.

If the journalistic process involved in gathering raw material is markedly similar, have the political aims and objectives remained? Where Cheeseman s pioneering approach was informed by Marxist socialist ideologies, and established a tradition of social observation and oral documentation, 6 giving voice and thereby empowerment to a community, Teresa Heskins, the director of Where Have I Been All My Life?

Significantly her designer Patrick Connellan was one of Cheeseman s original creative team, and contributed to the show its most stridently political statement in the form of his highly symbolic mise en scene, a semiotic analysis of which is provided later. This particular example of verbatim theatre is significant to an article concerned with the performer s relationship with technology because Alecky Blythe, through her work with the company Recorded Delivery, pioneered a technique that became her trademark: the actors in her shows, rather than learning their lines from a script in rehearsal, will, in the moment of live performance, have every one of their lines fed to Dating Man Feur 2021 through a disguised earpiece so that they are listening to and repeating exactly what they hear.

There will be a split second s delay between the exact moment that they receive their sound cue and their performance of it to a live audience.

The aim is that actors achieve absolute authenticity in their performance: they are encouraged to replicate exactly what they hear, from accent and tone of voice to every pause, stutter, um and ah. Significantly, the recorded voices fed to the actors are always the original, unprocessed voices of the people interviewed by the writer or editor Alecky Blythe during the process of research. Blythe, in preparation for a new play, will interview dozens of volunteers, using a simple recording device, with the eventual aim of condensing hours worth of interviews into a play text of conventional duration.

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She does not deliver a script in the established sense so much as a series of tightly edited statements, dialogues and conversations: she will interview individuals or groups of people, all of whom are responding to a particular event in this instance, participation in a local talent show: Stoke s Top Talent.

At the time of writing this article, the workexists not as a published play text, but as a pile of CDs, all of which contain in no particular, ordered sequence 6 Ibid.

Will Hammond and Dan Steward, London: Oberon,pp 24 24 DramArt Numărul the original recordings, some barely audible, of Blythe s interviews with the people whose utterances might eventually be selected for inclusion in the finished piece.

In the absence of any traditional publication the origin of the play has become its only substantial trace.