УДК: 792.075:[792.09+821'01]
DOI: 10.35852/2588-0144-2024-3-95-105
EDN: NGAFUB
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Meyerhold and Antiquity
Abstract
Vsevolod Meyerhold addressed to the ancient Greek dramas and their modern adaptations just for a few times in his career; but the “ancient line” can be traced through all of
his creative biography starting from the role of Tiresias in Antigone in the first season of
Moscow Art Theatre and up to the period of planning and unfinished project construction of
Meyerhold Theatre on Triumfalnaya square in Moscow. Both ideas and images of classic
antiquity are the basis of Meyerold’s artistic traditionalism. Ancient theatre, according to his
belief, together with commedia dell’arte formed the basement of the professional school of
any actor; that is why his classes always included exercises in ancient Greek stage practice.
Meyerhold’s antiquity was not identical to the academic classicism which was the part of
19th century culture. It was very close to the new line of interpretation of antiquity which
started to develop in the Russian and European art in the beginning of 20th century — the archaic and ritualistic dimension of ancient harmony. Among many directions of research of
“Meyerhold and antiquity” theme, the author of the article concentrates on the concepts of
“idea” and “form”: Meyerhold’s interpretation of these concepts is close to their meaning in
the ancient Greek classical philosophy. Studying these concepts thoroughly, leads to disagreement of the usual interpretation of Meyerhold’s directing method as the concentration on
the formal aspect of a performance, along with the usual concept of dualism of Stanislavsky’s
and Meyerhold’s directing methods.
Keywords
Meyerhold, GosTIM (State Meyerhold Theatre), ancient theatre, Russian theatre, form and
idea in theatre.
For citation
Trubochkin D.V. Meyerhold and Antiquity. Theatre. Fine Arts. Cinema. Music. 2024, no. 3, pp. 95–105.
DOI: 10.35852/2588-0144-2024-3-95-105
EDN NGAFUB
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Received: 01.07.2024
Revised: 26.07.2024
Accepted: 29.07.2024