Article metrics

  • citations in SCindeks: 0
  • citations in CrossRef:0
  • citations in Google Scholar:[=>]
  • visits in previous 30 days:9
  • full-text downloads in 30 days:8
article: 1 from 1  
Back back to result list
Zbornik radova Akademije umetnosti
2014, iss. 2, pp. 132-141
article language: Serbian
document type: unclassified
published on: 17/05/2015
doi: 10.5937/ZbAkUm1402132P
Meyerhold's biomechanics the analysis through the principle of omitting in the actor's on stage


Meyerhold's Biomechanics as a specific form of expression of the performer on stage includes a variety of principles through which the work of the actor on stage can be interpreted. One of these principles is omitting; whether it is about omitting visual elements of the performer's action, or about the law of synthesis. Furthermore, if the performer eliminates himself, or when the performer uses omitting to increase stage bios. In the interpretation of the principle of omitting through the analysis of examples from three plays: Acropolis by Jerzy Grotowski, The Tower of Holstebro by Eugenio Barba, and The Cherry Orchard by Peter Brook, three aspects have been taken into consideration: analysis of an example, biomechanic analysis and qualitative analysis of a sample. For this kind of analysis, photographs have been used, which present an attachment that has been analysed.



Gladkov, A. (1997) Meyerhold speaks, Meyerhold rehearses. London-New York: Routledge
Mejerholjd, V.E. (1976) O pozorištu. Beograd: Nolit