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Page 2 of 6 Natalia Makerova (Meyerhold Memorial Museum) ‘The actor in the scenic space of Meyerhold’s performances’ In this presentation I will examine the impact that the scenic space, designed by various artists, had on acting in Meyerhold’s performances throughout his career. I will focus on the following themes: acting styles in the static space of symbolic theatre; Meyerhold’s and Golovin’s ‘theatre traditionalism’; the role of the proscenium; Constructivist theatre: integrated scenic installations as work spaces for biomechanical actors; the synthesis of scenic solutions and acting in The Forest, The Mandat, The Inspector General; new principles of the functioning of a changing scenic space, the ‘circular theatre’ model; the stylistic counterpoint in Kukryniksy’s and Rodchenko’s set design for The Bed Bug; the distinctive features of set design and acting in Meyerhold’s late performances; the unrealized building of the Meyerhold State Theatre (GOSTIM); the architecture of the theatre of the future. Fausto Malcovati (University of Milan) ‘Meyerhold and the Theatre Division of the People’s Commissariat for Education (TEO of Narkompros) (1918–1920)’ Meyerhold immediately recognized the new government and took active part in the cultural projects of the Bolshevik authorities. He became a member of the Theatre Department (TEO) of the People’s Commissariat for Education (Narkompros), the only theatre practitioner among poets and politicians. His role as a supporter and guide of the Soviet authorities is perfectly exemplified by the Special Theatre Assembly, convened by people’s commissar A. Lunacharsky in December 1918. During this meeting of the authorities with leading theatre figures, not only did Meyerhold fully support the TEO’s agenda, which many criticized, but he openly castigated Stanislavski, Nemirovich-Danchenko, and Juzhin, blaming them for eschewing all novelty. |