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Meyerhold's Theatrical Biomechanics:
An Acting Technique for Today
Jane Baldwin
The American theatre has undergone radical changes in its repertory and
staging practices in the last thirty-five years. As a result, actors are called upon
to display a multiplicity of skills that, sadly, many do not possess. For, with a
few notable exceptions, American actor training has not kept pace with the
needs of contemporary theatre. Psychological realism in the form of the Method
retains its iron grip.
In New York, which maintains its reputation as the U.S. center for theatre
training, the Method is the primary tool of instruction. Universities and con-
servatories, it is true, frequently augment their acting programs with move-
ment and speech, but these courses are too often taught in isolation, their con-
tent separated from that of the acting classes. Other acting techniques, other
acting traditions, are not widely explored.
181
182 Jane Baldwin
Meyerhold found himself in the incongruous position of having his art con-
demned as "bourgeois" and "alien to Soviet art" by the state Committee on the
Arts (Rudnitsky 540). By 1938, having completely fallen from favor with the
regime, the victim of a vicious smear campaign, Meyerhold had lost his the-
atre. Two years later he was dead, shot in prison on February 2, 1940, after a
secret trial (Chentalinski 96).2 A victim of the political corruption and egre-
gious human rights violations of the Stalinist era, he had been tortured to ex-
tract a false confession (Chentalinski 75). With his death, Meyerhold became a
non-person in the Soviet Union, his writings and practices outlawed.
In the West, acting teachers periodically attempted to resurrect Theatrical
Biomechanics as a methodology. For years, their sources consisted of a few
sketchy writings, plus two dozen photos of an actor performing a Meyerhold
étude brought back to the U.S. by Lee Strasberg in 1934. However, even as ar-
chival material slowly became more available to Western scholars, missing was
a living link to the work. Thus the results of these Western attempts were inac-
curate, unsatisfactory, and ultimately unsuccessful. The practice of Theatrical
Biomechanics was presumed to have vanished from the theatre.
Yet in 1972, more than thirty years after Meyerhold's death, the figure in
the photographs, Nikolai Kustov, emerged from the theatrical underground to
which he had been relegated. Valentin Pluchek, director of the Moscow The-
atre of Satire, had taken the unprecedented step of inviting Kustov, a former
actor/teacher in Meyerhold's company, to train a select group of eight young
actors in Theatrical Biomechanics.3
Until his death three and a half years later, Kustov worked with the group,
training them in the almost forgotten and still forbidden art of Biomechanics.
Perhaps his most avid student was Gennadi Bogdanov, newly engaged by the
Theatre of Satire after his graduation from GITIS, Russia's leading drama school.
Biomechanics was a revelation to Bogdanov, who had been trained in the
state-sanctioned Stanislavsky System. Bogdanov recalls Kustov—then in his
sixties, ailing and aged beyond his years—as a brilliant teacher. No longer able
to sustain the pace of the physical work, Kustov sat most of the time, chain
smoking, observing the students closely, only getting up to show the form of
the exercises, the nuances and subtleties.
In 1974, Nikolai Karpov began auditing the class, absorbing the technique
but unable to participate since he was not a member of the Theatre of Satire.
Having completed his studies at the Shchepkin State Institute of Theatre Arts,
Karpov was then a graduate student and teaching assistant at GITIS, stage
movement and combat his primary interests. Sharing a common vision of the
theatre, Bogdanov and Karpov found themselves drawn to each other.
Meyerhold's Theatrical Biomechanics 183
A rare 1926 photo of Meyerhold's students performing the etude, "Shooting from the Bow."
From left to right: Z. P. Zlobin, L. N. Sverdlin, Meyerhold's daughter Irina, and R. M. Genena.
Photo: A. A. Temeren, used by permission of the owner, Gennadi Bogdanov.
Politics had always driven the institute's curriculum and continued to do so.
The door was cautiously opened to reform, the curriculum reexamined. Nikolai
Karpov was invited to return as Chairman of the Movement Department.
Thus Meyerhold's Theatrical Biomechanics began to infiltrate the school's
curriculum. Bogdanov was brought in, at first to teach one course, which turned
into two; and now Biomechanics is a viable and significant part of the acting
and directing program at GITIS (recently renamed the Russian Academy of
Theatre Arts). The two men are very proud of their accomplishment, stating,
"Now we can say that truly through tremendous difficulties, in our theatrical
academy, only ours, we have set an example. We have added something new
which, of course, is old, but had been forgotten a long time ago" (personal
interview).
It should be noted that GITIS is the only theatre institute in Russia offer-
ing Biomechanics, since, at this time, Bogdanov is the only qualified instruc-
tor. As Karpov reminds us: "Everything else is based on theoretical research"
(personal interview).
Despite the fact that their movement training varied from strong to almost
non-existent, everyone found the classes equally arduous, not least the profes-
sional dancer, Llory Wilson. She discovered, somewhat to her chagrin, that it
was "as much a challenge for me as for anyone else" (personal interview).
Since Bogdanov and Karpov speak only the most rudimentary English,
translators were essential. The institute was fortunate in obtaining the services
of two bilingual actresses—one American, who had trained previously with
the teachers in Europe (Kathryn Mederos), and one Russian (Katya Chaika)—
both of whom participated in the classes. Facilitating the process, Bogdanov
and Karpov led and performed the exercises with the students, in contrast to
traditional acting classes where the teacher acts as audience and critic. Conse-
quently, the instruction was far less language-dependent than the typical course.
Classes consisted of rigorous and varied movement training, six hours
per day, five days per week. When the students began preparing scenes, evening
rehearsal time was added. Each instructor taught the students for half the day,
alternating mornings and afternoons. However, to ensure absolute synchroni-
zation, the non-teaching instructor always observed the other's class.
We can give different exercises, different tasks, but we are not in conflict
with one another. We support each other. We build on one another's work.
Gena (Bogdanov's nickname) and I agree completely on what we want the
actor to gain from the process, (personal interview)
Both instructors maintain emphatically that they are not trying to recre-
ate the Biomechanical style as employed by Meyerhold but rather "to create a
foundation of Biomechanical principles on which contemporary actors and di-
rectors can build their work" (personal interview). They see their teaching as a
stepping stone to the future.
The system deals with the actor's inner being in a variety of ways. The
student learns to surmount emotional as well as physical blocks. Biomechanics
develops the ability to perform in a state of profound concentration—an in-
valuable tool for the actor. Kathleen Baum, one of the institute students, ar-
ticulated a typical reaction:
The whole question of concentration has taken on new meanings for me.
There is an intensity, an absoluteness of concentration that I have never
encountered in actor training. In the simplest task, the moment your con-
centration is not 100%, you are off. It is visible, it is noted, you feel it in
yourself, (personal interview)
Exploring their physical limits, actors break old patterns and retrain their
responses. Throughout, the instructors remind the actor that the goal of the
rigorous training is not purely physical expertise but rather its ultimate appli-
cation to the creation of a role. For example, the number of balls an actor may
juggle is far less consequential, ultimately, than who he or she is while jug-
gling them.
they acquire equal facility on both their left and right sides, become adept at
walking on their hands, and all actors (female as well as male) learn to support
a partner's weight using various parts of their bodies.
From the initial class, students work with partners and in groups. Since
many of the exercises carry a certain physical risk, the stakes are high, inspir-
ing an exceptional intensity of attention, mutual support, and ensemble. Ac-
tors seek to develop a total consciousness of the stage environment, experi-
enced not only through the eyes and ears but, again, through the entire body.
They also learn to remain in control. Unlike movement courses that stress free-
ing the self, Biomechanics provides a rigid structure in which focus, precision,
and economy of energy are emphasized. Within this structure, the performer
develops expressiveness.
Rhythm and balance play a critical role. Meyerhold linked the two indis-
solubly: "The actor must have rhythm, must be familiar with the laws of bal-
ance. An actor ignorant of the laws of balance is less than an apprentice" (200).
Rhythm is the element of performance that creates both form and meaning in
Theatrical Biomechanics. The actor's role is akin to that of a musician in a
musical composition. His or her movements, gestures, line (i.e., the personal
mise en scène) fit rhythmically and integrally into the dramatic composition. To
aid the actor's rhythmic development, music is frequently integrated into the
classwork; actors sometimes work with the rhythm, more often against. The
skilled Biomechanical actor can perform while simultaneously utilizing dis-
parate rhythms in different parts of the body.
Having thoroughly examined realistic activities, movement, and gesture,
Meyerhold concluded that any activity always contains, in a fixed order, cer-
tain universal components. He isolated these components, exaggerated them,
and gave them a theatrical shape in the exercises and études, or movement com-
positions, which he created.
In developing his system, Meyerhold created a vocabulary of movement.
The terminology of Theatrical Biomechanics offers actors a universal language
of the body, functioning in much the same way as Italian for musicians or French
for ballet dancers. Consequently, Bogdanov, for reasons of accuracy, insists that
even non-Russians learn the original terms. Listed below is the basic vocabu-
lary and its translation:
Otkaz: (the refusal) a countermovement, a preparation for the ac-
tion which also signals the partner that the actor is ready to inter-
act. Meyerhold believed that all movement has a countermovement,
no matter how minute, which initiates it.
Pacil: (the sending) both the commitment to and the doing of the
action.
188 Jane Baldwin
Classes start with a long and thorough warmup of the entire body. In the
initial classes at Tufts, warmups ran about an hour. As the students progressed,
the warmups were shortened so that the other elements could be expanded.
The warmup focuses on flexibility, balance, and coordination. Integrated into
the exercises are principles of ensemble, rhythm, spatial orientation, and re-
sponsiveness. A typical sequence starts slowly and gently and includes in the
following order: the rotation of the feet and ankles; gentle knee bends; rota-
tions and isolation of the knees and hips, shoulders, arms, and wrists; flexing
and massaging of the hands and fingers; easy circles of the head.
Meyerhold's Theatrical Biomechanics 189
Exercises then intensify, emphasizing the legs and, particularly, the feet.
Because balance is of primary importance, footwork is viewed as the base of
all movement, all expression. Students jog in place and proceed to running in a
circle, feet pointed toward the center, arms to the side, always keeping an equal
distance between themselves and their classmates. Even at this early stage of
the class, students focus on their relation to their surroundings and to others.
Running becomes more complex—on the toes, on the heels, on the out-
side, then on the inside of the feet. The pace changes, positions change, steps
are varied. Students may lunge across the room, then repeat the same move-
ment in a crouch. Throughout the exercise, Bogdanov moves beside the stu-
dents, encouraging, correcting, demonstrating, and giving directions to which
they must react immediately. That there is no obvious rhythm or logic to the
directional changes forces the student to sustain a high level of consciousness.
The warmup generally ends with a series of strenuous jumps undertaken
from a crouching position. In preparation, the student squats on the heels; the
right leg is extended to the side, then the left, repeating the movement several
times; then a jump straight up, arms held high. In mid-air, the knees are brought
to the chest and clutched briefly with the arms. The objective is to try to hold
the position in the air for a moment before landing once more in a crouch. In a
variant, the student does not draw up the knees but instead extends the body
mid-air—back arching slightly, arms and legs outstretched, chest open, head
and eyes focused upward—before dropping back into a crouch on landing. As
the student builds strength, these jumps are performed in alternation, several
times in rapid succession. Other legwork may follow.
The next stage of the class consists of spatial work. For the actor, key com-
ponents are: (1) to develop an awareness of the dynamic of the body in space;
(2) to develop presence; and (3) to explore the ways in which the body can
move through space. As in all biomechanical work, the principles of otkaz, pacil,
tormos, and tochka are applied in each exercise. There are numerous exercises
for this segment. I have restricted myself to three examples:
1. Two partners approach each other and create a simple mise en
scène with their bodies. Their relationship to the space is as impor-
tant as their relationship to each other's body. The partners create
movement patterns until they have exhausted all possibilities.
2. Again investigating every potentiality, the actor experiments with
different ways of walking—forward, backwards, tripping, turning,
on one foot, on the hands, etc. This exercise can be used to explore
character walks. In a variation, the actor climbs and descends stairs.
Each step on the stair requires its own otkaz sequence.
190 Jane Baldwin
This phase of the class over, students then move to training with objects,
most often batons and balls, employing left and right sides of the body equally.
While the obvious skills to be acquired are coordination and balance, the ac-
tors simultaneously make other discoveries. They learn about their own bod-
ies as they explore the possibilities of movement, using the objects. Signifi-
cantly, training with objects also directs the actor's attention outside of him/
herself, paving the way towards ensemble work. In class, the actor seldom
works alone; if an exercise does not call for a human partner, then inanimate
objects serve a similar function. Llory Wilson, who wanted to apply her stud-
ies at the institute to partnering in dance, noted the phenomenon:
I have learned so much about partnering through the baton work. AU the
learning about how to balance an object that isn't even dynamic, that isn't
even making a decision on its own, has been so helpful. I have learned so
much about how I as a partner would affect the mistakes of another per-
son through my decisions, (personal interview)
Baton poised on the palm of the hand, the actor prepares by bending the
knees (the otkaz), a downward movement, although the final movement is up-
wards. The baton is moved to a finger, then passed from one fingertip to an-
other. The legs help to keep it balanced; the eyes focus on the end of the baton,
the inanimate partner. It is balanced on the shoulder, the elbow, the forehead,
on the toes of one foot while standing on the other. The actors begin to move,
to run, to stop and say a line of poetry while synchronously balancing the ba-
ton on the middle finger. Still moving, they twirl the baton hand-over-hand,
under a leg, behind the back. Twirling the baton, fingers facing downwards,
hands circle to the outside, then the student lifts his/her elbow while bringing
the baton to the shoulder level, then overhead. The baton is brought to the
opposite shoulder and caught with the other hand.
The next step involves partnering with another person. Students practice
in pairs, tossing the baton back and forth, first with the right hand, then the
Meyerhold's Theatrical Biomechanics 191
left, then with two batons. As they become more competent, they throw and
catch the baton with various parts of the body in myriad ways. A second baton
is balanced on the first.
Each étude depicts a rudimentary story; the two person études have the
additional element of conflict. Each is inspired by an athletic activity or mar-
tial art, broken down into prescribed moments and rendered with precise, styl-
ized, and bold movements. Performing the études demands intricate skills—
the ability to make sudden physical, rhythmical, and emotional transitions;
the isolation and coordination of different muscle groups and body parts; pre-
cision, endurance, and timing.
The études are not an end in themselves but compositions intended for the
practice of a technique. Formalistic, they are diametrically opposed to impro-
192 Jane Baldwin
visation. Like dance combinations, they serve the double function of revealing
to the actor areas of weakness and improving those areas. Their aim, however,
is distinctly theatrical. Their purpose extends beyond the perfecting of physi-
cal skills; equally important is their dramatic component. At this level of
classwork, the actor's task becomes the complete integration of form and emo-
tion.
Bogdanov monitors this section of the work very closely since the student
is at risk of falling into the solipsistic trap described by Meyerhold, who casti-
gated the actor "so overwhelmed by his emotions, that he has been unable to
answer either for his movements or for his voice" (199). Lost are balance, coor-
dination, accuracy, focus, control—in a word, form. The actor experiences a
rush of feeling but at the audience's expense. To counteract this tendency,
Bogdanov has the actors work on the solo études in a circle where, in addition
to the expression of form and emotion, they concentrate on group timing,
rhythm, and spatial relationship. Focus is at once inward, on the actors' own
work, and outward, on the others in the circle. For the two person études, all
the actors work at the same time, so again shared focus is an essential factor.
During the early stages of the learning process, Bogdanov calls out the
names of each component of the étude, signaling the transition from one seg-
ment into the next. Segments are linked by what could best be described as an
active pause, in which the body holds its position in a state of dynamic ten-
sion. These pauses vary in length, from roughly three seconds to perhaps twenty.
As their length is not fixed, the etude's tempo cannot be anticipated. Students
must maintain their bodies in a constant state of readiness for the next action.
This is a point to which Bogdanov returns again and again. Like Meyerhold, he
believes that relaxation, in the sense of letting go, is inimical to theatricality.
Once their execution becomes more competent, students perform the études
without Bogdanov's commands. The group must spontaneously determine the
tempo of its transitions from segment to segment in the course of performing
the étude. They listen to each other's breathing and observe peripherally the
Meyerhold's Theatrical Biomechanics 193
pace of the others' gestures and their otkaz, while maintaining individual pre-
cision of form in a complex and strenuous movement sequence.
In the partner études, all the actors work concurrently, though in pairs.
Identical ensemble considerations come into play but with the added ingredi-
ent of response. Unlike realistic acting, the dynamic, from the actor's point of
view, is more rhythmic than emotional. The actor orients by the partner's
rhythm, feeling the "right" moment to come in. From a directorial perspective,
this permits a control over the rhythms of a production that Method spontane-
ity does not.
The Dactyl
Initiating and terminating all études is the dactyl, the punctuation mark of
the étude. It is a sequence of movements in which group rhythm is established;
this sequence is repeated until the actors are in synchronization. Complicating
the task is the uneven rhythm of the dactyl. A similar syncopated rhythm is
found in the études. Although a complex set of movements, the dactyl takes
only a few seconds to perform.
The Slap
1. Preparation. Partners A and B face each other in the neutral posi-
tion. They are far enough apart so they must lean into a lunge to
grasp hands.
194 Jane Baldwin
2. The Stance. Knees bent, actors jump into the air; head and upper
body roll forward and straighten; they land with one foot in front
of the other, still facing the partner.
3. Preparation for the Greeting. From the neutral position, both part-
ners pivot right, now facing each other on the diagonal. The lead-
ing hip thrusts forward; the weight is on the rear leg, which is bent.
The front leg extends straight forward, toe pointed and slightly
turned in. Simultaneously, the right arm draws back, elbow bent,
hand at chest level, palm parallel to the torso, fingers extended.
The left arm hangs at ease in front of the torso. The partners con-
template one another over their left shoulders.
4. The Greeting. Forward weight shift into a deep lunge; the rear leg
is fully extended. Leaning into each other, partners extend their right
arms and grasp hands.
9. Taking Aim. Partner A pivots the upper body right, bringing the
right hand around to meet B's cheek. The weight shifts from right
to left leg. Following a slight otkaz backwards, B leans toward A,
proffering cheek. Hand and cheek almost touch.
10. The Slap. Partner A shifts weight back onto the right leg, swing-
ing the right arm back in a sweeping motion, then forward in a
"slap" which brushes past, but does not touch, B's cheek. B recoils,
clapping hands together to make a slapping sound. The left arm is
flung straight up as the body and head rise to follow, right hand
hanging toward the floor. The weight shifts to the right leg, which
bends slightly as the left hand drops to touch the slapped cheek. B
gazes upward.
11. Repetition. Using the stance as the otkaz, sequence 6 through 10
is repeated with the partners exchanging roles.
12. The Walk. The final sequence. Partners link arms and promenade
in a circle. Their gait is military, almost a march, and their free arms
swing like those of soldiers on parade.
Scenes
During the last week of classes at Tufts, scene work was added and inte-
grated into the work, albeit in rough form. In preparation, sound and then words
were included in the exercises. The scenes were drawn from Antigone, Twelfth
Night, The Taming of the Shrew, and The Tempest, but their focus was physical.
Students enjoyed bringing a Biomechanical dimension to these classic scenes.
Tumbling, stage combat, juggling, gymnastics were incorporated and combined,
as were many of the class exercises. Because of the pressures of time, students
were unable to bring the scenes to completion, leaving the actors somewhat
frustrated.
Most of them anticipated using what they had learned of Theatrical Bio-
mechanics professionally. One of the teachers had plans for directing a
commedia-like farce, utilizing many of the class exercises both in the staging
196 Jane Baldwin
and in working with his students. The technique is very useful in comedy be-
cause of its emphasis on rhythm and timing. Two of the students who teach at
Syracuse University, Kathleen Baum and Donna Inglima, intended to team teach
a movement-based acting class. Dancer Llory Wilson envisaged choreograph-
ing a piece which would bridge the gulf between dance and theatre by using
Biomechanical movement. And Marianne Kubik, a director who works with an
alternative theatre company, had already begun to incorporate rudimentary
Biomechanical exercises into the rehearsal process, to which her actors re-
sponded enthusiastically.
Production
Knox conceived a project with two related objectives: the first, to expand
the actors' creative possibilities; the second, to put the training to a practical
test in a production of Mayakovsky's Banya (The Bathtub ) in its American trans-
lation. This play, directed by Meyerhold in 1930, would allow the Phoenix ac-
tors to use their Biomechanical training directly and fully.
Bogdanov spent almost five weeks with the company, giving classes three
hours a day, three days a week, with another eight hours on the weekend. Apart
from the absence of Karpov, the most significant difference between the Phoe-
nix Ensemble's training and that at Tufts was the number of hours of classes
per week—seventeen hours for the Phoenix versus thirty at Tufts. However,
the fact that the Phoenix actors were part of an existing company, and that the
training was a prelude to a specific undertaking, gave the work immediacy
and a different dynamic.
rectly with the actors and was sometimes frustrated by the limits of his En-
glish.
From left to right: Paul Knox, Edward Cunningham, Cecilia Arana in The Bathtub. Photo: T. L.
Boston.
Meyerhold's Theatrical Biomechanics 199
her from a naturalistic mindset and allowed her to create a multifaceted char-
acter. The actors developed an almost directorial awareness of composition,
while their acquired physical prowess allowed them to take risks which served
the mise en scène, giving it a life it would not have had otherwise.
Notes
1. Partial support for the institute was provided by a grant from the Trust for Mutual
Understanding.
2. New information concerning Meyerhold's arrest and trial has recently come to
light. While researching material for his book, La parole ressucitée: dans les archives
littéraires du KGB, Vitali Chentalinski discovered in the archives of Lubyanka Prison a
letter from Vsevolod Meyerhold to Molotov, then Prime Minister of the Soviet Union,
protesting and detailing the vicious physical and psychological torture he had under-
gone at the hands of the secret police.
Works Cited
Barba, Eugenio. A Dictionary of Theatre Anthropology: The Secret Art of the Performer. London:
Routledge, 1991.
Chentalinski, Vitali. La parole ressucitée: dans les archives du KGB. Trans. Galia Ackerman
and Pierre Lorrain. Paris: Éditions Robert Laffont, 1993.
Meyerhold's Theatrical Biomechanics 201
Meyerhold, Vsevolod. Meyerhold on Theatre. Ed. and trans. Edward Braun. London: Eyre
Methuen, 1978.
Rudnitsky, Konstantin. Meyerhold the Director. Trans. George Petrov. Ann Arbor: Ardis, 1981.
Schmidt, Paul. Introduction to The Bathtub. Theater 22.2 (1991): 68.
Slonim, Marc. Russian Theatre: From the Empire to the Soviets. Cleveland: World Publishing,
1961.