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2017capa2710-blog · 7 years

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Imagine the performance being a blank canvas, now by adding different strokes of multiple colours of paint to that canvas you are creating a picture. Art involves much creativity, however in the art of biomechanics many of the techniques acquired for biomechanical training involves much time and rehearsing in conjunction with creativity. Hence mechanics are applied to human movement to create a greater understanding of performance. Certain performances of biomechanics, for example sport as such, focuses on the application of scientific principles of mechanical physics to understand movements of actions of human bodies and sports implements. Therefore biomechanics enables the actor/actors to understand the basic skills of biomechanics, and furthermore when working with a partner which was very much the case as an individual studying biomechanics, I was required to take the independent skills to have my partner and I support one another.

As a student focusing on the importance of practicing etudes in biomechanics, Meyerhold’s system of actor training also known as biomechanics was majorly important when practicing and creating ‘the slap in the face’ and myself and my partner's individual etude. Vsevolod Meyerhold conveys movement in etudes to be the most powerful expression, this is evident through Meyerhold’s quote “Movement is the most powerful means of expression in the creation of a theatrical production. Deprived of words, costumes, footlights, wings, theatre auditorium, and left with only the actor and his (sic) mastery of movement, the theatre would still remain theatre.” - Vsevolod Meyerhold, 1914.

Now forgot about the costumes, stage props, and lighting and purely focus on the physical movements and techniques. This doesn’t mean biomechanics doesn't involve any lighting, props, sound and so on into their performance, however I want to introduce the basic skills that need to be interpreted into any biomechanics performance. The skills acquired include, precision, balance, coordination, efficiency, rhythm, expressiveness, responsiveness, playfulness and discipline. There is still much to be discussed when it comes to Vsevolod Meyerhold’s system of actor training in biomechanics, including techniques, vocabulary, skills, training and the history of Meyerhold’s biomechanics. Jonathan Pitches reading on ‘the slap in the face’, Pitches introduces the five etudes with a main focus on the pair etude ‘the slap in the face’ which is the etude I will be referring to when discussing the importance of practicing etudes in biomechanics.

Understanding the slap in the face.

There are seven basic skills when practicing etudes in biomechanics, however when understanding the slap in the face the two most important basic skills include precision and balance. Precision is important when rehearsing the slap and repeating it multiple times, therefore the aim is to mimic the physical shape of the slap perfectly. Also, presion also demands the accuracy of the gesture, thus to remember the gesture so it can be reproduced perfectly. Whilst balance trains the unnatural actor, when focusing on ‘the slap’ the individual must keep their feet parallel which is therefore an unnatural position which the actor will have to work physically harder to maintain their balance. There are three points to ‘the slap’ that is important to remember when rehearsing and learning ‘the slap’. Firstly ‘the slap’ etude is quite similar to staged slaps in theatres in movies, as a result of ‘the slap’ etude being performed as a pair, there is a aggressor and a victim (cowerer), furthermore as the cowerer makes the sound of the slap, the aggressor swips close to the face. Secondly this is where precision is put into place as the following needs to be rehearsed repetitively to create the rhythm of the etude. The pair becomes a ‘mini ensemble’, until halfway through when it’s identified who the hierarchy is. The hierarchy becomes obvious through the pairs sync movements being broken and and expressiveness and responsiveness between the cowerer and aggressor is performed. Thirdly, the last important point includes the building point of each last action. As a result of Meyerhold’s vocal training in etudes being put into place, the three sub-actions otkaz, posil, and tochka. Vocabulary is also very important when training and practicing etudes, nearer to the end of ‘the slap’ these three sub-actions (otkaz, posil, tochka) and these go together to create rhythm of the piece. Overall The order of ‘the slap’ goes as follows shake, preparation to slap, cowering, taking aim, offering the cheek, the slap (agresor), the slap (victim), dactyl, leap to the stance, and parade.

Discussing the basic skills of biomechanics.

I have briefly discussed few of the basic skills of biomechanics when conveying the understanding of ‘the slap in the face’. All eight support one another and are fundamental skills to the craft of acting. Already discussed has been balance and precisions importance when beginning ‘the slap in the face’, however when previously discussing ‘the slap’ rhythm, efficiency and responsiveness were also used to develop ‘the slap’. All though when performing any etude all basic skills are important, followed on by rehearsing each of the skills in particular techniques. I will now give a brief overview of each basic skill and how it was adapted to etdes I have practiced and further rehearsed. Precision has already been discussed, but once again precision is the skill to recreate the etude exactly, hence performing a physical movement the same every time. Balance was practiced throughout the semester of studying biomechanics, as each class was introduced with each individual positioned in the neutral stance. Carrying on with balance, Meyerhold’s training enabled the actor to think about the body’s natural balance. By making things unnatural, for example standing parallel for ‘the slap’ when you want them 90 degrees. In Jonathan Pitches text ‘Vsevolod Meyerhold’ he conveys “ balanced actor is a confident actor and a confident actor is someone who wants to share their talents with the audience. Holding the stage with a bold and explicit gesture can evoke the same sensation.”. Moving on to Co-ordination, as an individual who has been studying etudes, all performance practiced and performed have been partner work. Even though I would be focusing on the pair of us, it is also important to perfect my individual's movements, then to further put forward those movements in the piece. Rhythm and efficiency are both very important when it comes to Meyerhold's system of actor training, and both work well in conjunction with each other. Therefore the efficiency of the physical movements of the etude are an important resource, as the physical movements create precise fluidity and rhythm. Referring back to the importance of vocabulary when talking about Meyerhold's training, rhythm is considered. Thus the three sub-actions otkaz, posil, and tochka, also known as the action recovery and pause. Furthermore, by adding efficiency and rhythm to any etude will enable a satisfied audience as a result of the gestures and physical movements will be clear and clarified. In performance, actors are communicating with the audience, the task given to actors becomes their job to express the in particular vision or task. Mime is most often used in etudes and is particularly common among biomechanics, thus Meyerhold’s style of expression exaggerated and stylized movements, he also aimed to build stage pictures and therefore this meant the need for words didn't exist. Due to the high demand for physicality in the performance, Meyerhold wanted his actors to be physically fit, agile, and flexible. When studying Meyerhold’s system of actor training, each lesson began with etudes stick and ball work, using the three sub-actions otkaz, posil, and tochka. The three sub actions (as mentioned previously) are also for action recovery and pause. Therefore when practising action reaction and pause enabled me as an individual to become more focused on the sticks and balls when tossing hem side to side or in a three sixty motion. This training allowed me to be switched on and responsiveness, which in the long term stage actors must be able to respond to anything unpredictable that occurs within the live performance. Meyerhold’s teaching on responsiveness was therefore extreme. Playfulness and discipline is the last of the eight basic skills, and it focuses on the creativity of the performance. Too much and it’s lacking focus and too little and it’s lacking creativity and sparking light.

Alright, so far, we have established what Biomechanics is, how it has developed over time and who by, what the formula for acting represents, and explored the importance of the basic skills, Jacques Copeau developing the creative actor, and understanding ‘the slap in the face’. Now that we know the training techniques and basic skills in biomechanics performance, this will assist actors in devising theatre or to express a performance to an audience without words.

What now?

The theatrical principle of biomechanics was developed by Vsevolod Meyerhold from 1913 to 1922, which consisted of etudes and the basic skills mentioned previously. Meyerhold believed in the idea of the “actor-as-creator”, as opposed to Stanislavski’s “actor-as-interpreter”. System of actor training in biomechanics is very influential, however another influential actor who has shaped the technique of method acting is Konstantin Stanislavski. His work involved using text and emotional memory. Vsevolod Meyerhold and Konstantin Stanislavski both studied Stanislavski’s Moscow Art Theatre, Meyerhold’s teachings revolved more around physical movements particularly precise movements to approach performance rather than building from a text as he believed building from a text had its limitations.

Developing Etudes:

When developing the creative actor, Jacques Copeau contemporary of Meyerhold, Edward Gordon Craig, and Stanislavsky. Copeau held his place in the historic Avant Garde being very experimental and innovative. He is important when referring to biomechanics as he was very aware in theatre of many innovations such as dance, movement which were both very important in Meyerhold’s biomechanics. Both of which (dance and movement) were beginning to take place in Europe at the time. Most of Copeau's central teaching techniques include much of what is effective in etudes. Such as mime (silent play/improvisations without words) –realistic mime, Animal and nature studies. Mime is the major focus when studying etudes for my partner performance, however understanding Compeau's skills and techniques are overall effective when developing the creative actor. As spoken about in previous paragraphs training the natural actor is crucial in both Meyerhold’s and Copeau system of training. Therefore training the natural actor involved the ability to respond to dramatic circumstances. That being both directly and imaginatively, to do so will lead a confident actor and an expressive body committed to dramatic action. Copeau encouraged his actors to show a natural means of expression, which meant he wanted them to fluid and varied rather than declamation and artificiality. My following both Meyerhold’s and Copeau’s training methods, this will allow pairs or individuals to develop their etudes.

The Actor's Art:

As an actor being aware of the mechanical principles of the body is very important, especially when developing an etude. Whilst myself and my partner were creating our own etude it was very important that applied the mechanical principles to every action. Biomechanics involves studying the way the body works and analysing all the movements created and performed. Therefore repetition and exaggeration are important for the muscle memory especially when new movements are created or added.

Concluding Points:

Many theatre practitioners have developed a range of theories and methods, which is evident in the Meyerhold’s system of actor training (biomechanics), along with Jacques Copeau innovations which involve physical movement. When beginning to develop any etude, following Copeau’s skills and techniques, or involving the basic skills of biomechanics to any etude will lead to a successful performance and a satisfied audience. Overall when further practising the devised etude it is important to focus on unifying the body and movement through developing and experimenting with movement and various systematic training skills from not only Copeau, Decroux and Meyerhold,but also Stanislavski.

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