par Ioffe, Dennis
Référence Arti dello Spettacolo / Performing Arts, 2, page (109-115)
Publication Publié, 2016
Article révisé par les pairs
Résumé : Starting from 1906 Komissarzhevskaya proceeded to explore new creative perspectives inviting no one other than a young 'acting director' Vsevolod Meyerhold. He will become her new provocatively experimental 'director of company'. The theatrical aesthetics of Symbolism was then (still) highly relevant not only to her but also to him. Meyerhold served as director of Komissarzhevskaya’s Theatre for approximately a year and a half (1906-1907). The 'partnering-relationship' between them was frequently highly problematic and eventually disintegrated for good. Meyerhold at this point of time was seeking more radical, experimental alternatives to the traditional mimetic system of art (the one which will eventually acquire the name of Constantine Stanislavsky). However, whereas Meyerholdʼs future 'biomechanics' was obsessed with emancipating theatre from its innate (inter)dependence on literature, his leading/moving actors were (still) not entirely relieved of verbal speech per se (with more intensity of course, distributed to their body language). Essentially, Meyerholdʼs theatre still was largely dependent on the 'realm of the literary' offering a new language of representation so to speak.