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Page 2 of 6 Philip Brehse is an actor, director, musician, and co-founder of the Open Space Performunion, Berlin. He studied acting at Ithaca College, New York. His fascination with Biomechanics began through work with Carlo Altomare and the Alchemical Theatre Laboratory, followed by the late eighties’ epoch of the Living Theatre with Judith Malina and Hanon Reznikov. Living since 1991 in ‘post wall’ Berlin, he has continually furthered his research on Meyerhold and practical training in Biomechanics. He completed Giennai Bogdanov’s master class at the Expo in Hannover. He has directed and taught Biomechanics and acting at the Athanor Akademie in Burghausen, the Neue Schauspielschule in Nürnberg and at Teatro Cinque in Milan. Presently he specializes in his Biomechanical approach to performance and choreography. He Co-Curated the International Performance Festival CUT in Berlin. Mel Gordon, PhD, is Professor of Theatre Art at the University of California, Berkeley. He has authored many books, including The Stanislavsky Technique (2000), Dada Performance (2001), and co-written Meyerhold, Eisenstein and Biomechanics: Actor Training in Revolutionary Russia (1996, 2012). His article ‘Meyerhold’s Biomechanics’ in The Drama Review (1974) was the first detailed non-Russian description of the technique since the Meyerhold Theatre was liquidated in 1938. Ma³gorzata Jab³oñska is a theatre researcher and doctoral student at the Department of Performance Studies at the Jagiellonian University, Kraków. She is working on a PhD thesis on the influence of Meyerhold’s Biomechanics on the concepts of actor training in European theatre. She is a member of the CHOREA Theatre Association. |