113 research outputs found
Surfaces, depths and hypercubes: Meyerholdian scenography and the fourth dimension
An appreciation of Meyerholdâs engagement with theatrical space is fundamental to understanding his directorial and pedagogic practice. This article begins by establishing Meyerholdâs theoretical and practical engagement with theatre as a fundamentally scenographic process, arguing for a reconceptualisation of the director as âdirector-scenographerâ. Focusing on the construction of depth and surface in Meyerholdian theatre, the article goes on to identify trends in the directorâs approach to space, with an emphasis on the de-naturalisation of depth on stage. This denaturalisation is seen as taking three forms: the rejection of depth as a prerequisite in theatrical space, the acknowledgement of the two-dimensional surface as surface, and the restructuring of depth space into a series of restricted planes. The combination of these trends indicates a consistent and systematic process of experimentation in Meyerholdâs work. In addition, this emphasis on depth and surface, and the interaction between the two, also highlights the contextualisation of Meyerholdâs practice within the visual, philosophical and scientific culture of the early twentieth century, echoing the innovations in n-dimensional geometry and particularly, the model of the fourth spatial dimension seen in the work of Russian philosopher P. D. Ouspensky
Citation d'Apollinaire : Alcools, Gallimard
Apolinaire Guillaume. Citation d'Apollinaire : Alcools, Gallimard . In: SorciÚres : les femmes vivent, n°22, 1981. Sorcelleries. p. 99
Citation d'Apollinaire : Alcools, Gallimard
Apolinaire Guillaume. Citation d'Apollinaire : Alcools, Gallimard . In: SorciÚres : les femmes vivent, n°22, 1981. Sorcelleries. p. 99
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