- Não realismo;
- Estilizações simbolistas com clássicos.
- Expõe a maquinária da ilusão
Experimentações/métodos em alguns trabalhos:
Meterlinck:
- Pictorialism: disposing the human figures on the stage by bas-relief and frescoes
- Biomechanics: a means of revealing [the characters] interior monologue through the music of plastic motion
Tintagiles: O ritmo do som
a risada das empregadas, e
depois
o grito dos Tintagiles,
novamente a risada das empregadas,
o grito dos Tintagiles,
uma pequena pausa,
o som dos corpos dos Tintagiles caindo,
uma pequena pausa
a risada triunfante das empregadas.
Hedda:
Yet the first scene between Lovberg and Hedda was to consist of words recited in a monotone quite withou movement: "During all of this scene Lovborg and Hedda sit side by side - tense, frozen - and look straight ahead. Their exchange of lines, quiet, passionate, falls rhythmically from lips which are felt to be dry and cold. Two glasses are in front of them and the punch flame burns. Not once in the course of the whole scene do they change the direction of their gaze and their motionless poses. Only at the wors, "So there is in you too a thirst for life", does Lovborg make a quick gesture towats Hedda. But at this the scene brakes off. (p.34 - Meyerhold - The Art of Conscious Theater, HOOVER).
- poses que se assemelham ao Gestus de Brecht
- proximidade com o público (expressões sutis, nuances de voz
O grotesco como uma união de opostos.
Ex: Pierrot interpretado por ele na peça Farce.
"He is not in the least like those familiar, consciously sweet, whining Pierrots. All in acute angles with a muted voice, whispering words of not earthly sorrow, he's simultaneously full of barbs and insight, tender and impudent".
- Estilizações simbolistas com clássicos.
- Expõe a maquinária da ilusão
Experimentações/métodos em alguns trabalhos:
Meterlinck:
- Pictorialism: disposing the human figures on the stage by bas-relief and frescoes
- Biomechanics: a means of revealing [the characters] interior monologue through the music of plastic motion
Tintagiles: O ritmo do som
a risada das empregadas, e
depois
o grito dos Tintagiles,
novamente a risada das empregadas,
o grito dos Tintagiles,
uma pequena pausa,
o som dos corpos dos Tintagiles caindo,
uma pequena pausa
a risada triunfante das empregadas.
Hedda:
Yet the first scene between Lovberg and Hedda was to consist of words recited in a monotone quite withou movement: "During all of this scene Lovborg and Hedda sit side by side - tense, frozen - and look straight ahead. Their exchange of lines, quiet, passionate, falls rhythmically from lips which are felt to be dry and cold. Two glasses are in front of them and the punch flame burns. Not once in the course of the whole scene do they change the direction of their gaze and their motionless poses. Only at the wors, "So there is in you too a thirst for life", does Lovborg make a quick gesture towats Hedda. But at this the scene brakes off. (p.34 - Meyerhold - The Art of Conscious Theater, HOOVER).
- poses que se assemelham ao Gestus de Brecht
- proximidade com o público (expressões sutis, nuances de voz
O grotesco como uma união de opostos.
Ex: Pierrot interpretado por ele na peça Farce.
"He is not in the least like those familiar, consciously sweet, whining Pierrots. All in acute angles with a muted voice, whispering words of not earthly sorrow, he's simultaneously full of barbs and insight, tender and impudent".
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