Komissarzhevskaya and the Russian Avant-Garde: pragmatics of performativity: Meyerhold and beyond
- Author
- Dennis Ioffe (UGent)
- Organization
- Abstract
- Starting from 1906 Komissarzhevskaya proceeded to explore new creative perspectives with her theatre moving it to a new locale, and then inviting no one other than a young 'acting director' Vsevolod Meyerhold. He will become her new provocatively experimental 'director of company'. The theatrical aesthetics of Symbolism was then (still) highly relevant not only to her but also to him. Meyerhold served as director of Komissarzhevskaya’s Theatre for approximately a year and a half (1906-1907). The 'partnering-relationship' between them was frequently highly problematic and eventually disintegrated for good. Meyerhold at this point of time was seeking more radical, experimental alternatives to the traditional mimetic system of art (the one which will eventually acquire the name of Constantine Satanislavsky). However, whereas Meyerholdʼs future 'biomechanics' was obsessed with emancipating theatre from its innate (inter)dependence on literature, his leading/moving actors were (still) not entirely relieved of verbal speech per se (with more intensity of course, distributed to their body language). Essentially, Meyerholdʼs theatre still was largely dependent on the 'realm of the literary' offering a new language of representation so to speak.
- Keywords
- Komissarzhevskaya, Russian Modernism, Russian Avant-Garde, Meyerhold, Russian Symbolism, Performance theory
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Citation
Please use this url to cite or link to this publication: http://hdl.handle.net/1854/LU-7241269
- MLA
- Ioffe, Dennis. “Komissarzhevskaya and the Russian Avant-Garde: Pragmatics of Performativity: Meyerhold and Beyond.” ARTI DELLO SPETTACOLO = PERFORMING ARTS, edited by Donatella Gavrilovich and Gabriella Elina Imposti, vol. 2, University of Rome “Tor Vergata,” 2016, pp. 109–15.
- APA
- Ioffe, D. (2016). Komissarzhevskaya and the Russian Avant-Garde: pragmatics of performativity: Meyerhold and beyond. ARTI DELLO SPETTACOLO = PERFORMING ARTS, 2, 109–115.
- Chicago author-date
- Ioffe, Dennis. 2016. “Komissarzhevskaya and the Russian Avant-Garde: Pragmatics of Performativity: Meyerhold and Beyond.” Edited by Donatella Gavrilovich and Gabriella Elina Imposti. ARTI DELLO SPETTACOLO = PERFORMING ARTS 2: 109–15.
- Chicago author-date (all authors)
- Ioffe, Dennis. 2016. “Komissarzhevskaya and the Russian Avant-Garde: Pragmatics of Performativity: Meyerhold and Beyond.” Ed by. Donatella Gavrilovich and Gabriella Elina Imposti. ARTI DELLO SPETTACOLO = PERFORMING ARTS 2: 109–115.
- Vancouver
- 1.Ioffe D. Komissarzhevskaya and the Russian Avant-Garde: pragmatics of performativity: Meyerhold and beyond. Gavrilovich D, Imposti GE, editors. ARTI DELLO SPETTACOLO = PERFORMING ARTS. 2016;2:109–15.
- IEEE
- [1]D. Ioffe, “Komissarzhevskaya and the Russian Avant-Garde: pragmatics of performativity: Meyerhold and beyond,” ARTI DELLO SPETTACOLO = PERFORMING ARTS, vol. 2, pp. 109–115, 2016.
@article{7241269,
abstract = {{Starting from 1906 Komissarzhevskaya proceeded to explore new creative perspectives with her theatre moving it to a new locale, and then inviting no one other than a young 'acting director' Vsevolod Meyerhold. He will become her new provocatively experimental 'director of company'. The theatrical aesthetics of Symbolism was then (still) highly relevant not only to her but also to him. Meyerhold served as director of Komissarzhevskaya’s Theatre for approximately a year and a half (1906-1907). The 'partnering-relationship' between them was frequently highly problematic and eventually disintegrated for good. Meyerhold at this point of time was seeking more radical, experimental alternatives to the traditional mimetic system of art (the one which will eventually acquire the name of Constantine Satanislavsky). However, whereas Meyerholdʼs future 'biomechanics' was obsessed with emancipating theatre from its innate (inter)dependence on literature, his leading/moving actors were (still) not entirely relieved of verbal speech per se (with more intensity of course, distributed to their body language). Essentially, Meyerholdʼs theatre still was largely dependent on the 'realm of the literary' offering a new language of representation so to speak.}},
author = {{Ioffe, Dennis}},
editor = {{Gavrilovich, Donatella and Imposti, Gabriella Elina}},
issn = {{2421-2679}},
journal = {{ARTI DELLO SPETTACOLO = PERFORMING ARTS}},
keywords = {{Komissarzhevskaya,Russian Modernism,Russian Avant-Garde,Meyerhold,Russian Symbolism,Performance theory}},
language = {{eng}},
pages = {{109--115}},
publisher = {{University of Rome ‘Tor Vergata’}},
title = {{Komissarzhevskaya and the Russian Avant-Garde: pragmatics of performativity: Meyerhold and beyond}},
url = {{http://www.artidellospettacolo-performingarts.com/index.php?option=com_content&view=article&id=40%3Aii-2016-special-issue-vera-komissarzhevskaya-meets-eleonora-duse&catid=9&Itemid=114}},
volume = {{2}},
year = {{2016}},
}