The idea of theatre as a changeable human construct has been presented by several constructivists, including B. Brecht, V. Meyerhold, and C. Stanislavski, each with their own unique perspective. Meyerhold’s theatrical style incorporated audience participation to reveal the dynamic nature of entertainment and its connection to viewers’ reality. Brecht used an established theatre to symbolize the changeable nature of human constructs within social reality. Lastly, Stanislavski’s theatrical styles utilized symbolism, constructivism, and improvisation to create dynamic presentations of human constructs that followed naturalist performance precepts.
Theatrical ideas used by the three principal proponents, B. Brecht, V. Meyerhold, and C. Stanislavski significantly supported the concept of theatre as a changeable human construct,” influenced by social reality constructed under one’s own self-improvised and natural presentations of art. According to Eddershaw (1996), the ideas of Brecht, Meyerhold, and Stanislavski occupied a common ground in theatrical practice wherein an actor’s inner feelings are trained to mediate outwardly enabling natural expressions of their character portrayals[1]. Despite the obvious similarities in the theatrical concepts employed by the three directors, each maintained their original constructivist entertainment styles.
Discussion
Brecht, Meyerhold, and Stanislavski shared almost common principles and ideas that contributed dramatically to the field of performing arts during the revolutionary periods of theatre. Along with other directors such as Artaud, Grotowski, and Copeau, they started a theatrical transition based on the dynamic nature of theatre as a changeable human construct[2]. In this new theatrical style conceived by these three directors, artists did not bother presenting their own perspective of the external world; rather they presented it according to images of the world beyond themselves creating an illusion of self-contained presentation and social reality portrayal[3].
Bertolt Brecht
Bertolt Brecht, the famous German dramatist and director, utilized theatre as an instrument for directing social change[4]. For Brecht, theatrical presentation involved challenging human constructs that were deemed modifiable through a series of reality exposures guided by a chain of varying events. The idea behind Brecht’s theatre was to reveal naturalistic scenes to create a realistic atmosphere that demonstrated the necessary changes in reality.
Brecht’s theatre applied the distillation of objective audience expectations to the pre-planned concepts of his works. Similar to the value placed on a human construct, Brecht applied the same principle in his theatrical performances. For Brecht, anticipation and predetermination of story sequence were reasons why theater cannot instill purposive social change among its audience[5]. Brecht thought of utilizing the concept of dialectical theater presentation employing the science of human relationships over subject pre-determinism[6].
In order to set up a natural reality in his theatrical entertainment, Brecht would break the normative perspective of monotonous events and series of pre-planned sequences of action. His efforts aimed to encourage audiences to refrain from accepting the concept of dictated fate and predetermined paths[7]. To destroy the illusion of predetermined theatrical presentation, Brecht employed various strategies such as audience exhortations and breaking up commercials with commentaries on the action.
In addition, Brecht notably limited the use of unrealistic elements, such as musical accompaniment and support. This was done in order to induce the audience’s reaction towards the lyrics without the influence of distorting sounds[8]. In one of his famous stage plays, The Flight over the Ocean (1929), he placed an unexpected large sign behind the performers urging spectators to sing along with the actors. This was done in order to distort any possibly building assumptions among the audience. Brecht adapted Marxist’s Gesamtkunstwerk in order to maintain independent art.
In Brecht’s theatre, he commonly broke the rules of obvious and sequential acts and applied a series of unexpected compositions. When dealing with his actors, he emphasized the value of creating a unique role far from commonly adapted portrayals. Brecht’s trained actors relayed particular moral or political messages to the audience in an effort to prevent spoon-fed acts and create a sense of audience participation. He focused on constructing new precepts by individualizing his actors’ roles, creating a naturalistic and reality-based presentation, and applying theatrical distortions against the building audience assumptions in order to bring social change through theatre dynamism.
Vsevolod Emilevich Meyerhold
Vsevolod Emilevich Meyerhold was a Russian theatrical director and producer who was born in Germany. He developed his theatrical style based on the concepts of theatrical symbolism, constructivism, and artistic improvisation, while rejecting the presentation of social realism[10]. Meyerhold used Stanislavski’s style to begin his experimental work on theatrical improvisation, moving beyond materialism and using symbolism to create a deeper meaning in his productions[11]. To apply these concepts, Meyerhold created a stylized theatre that freed performers from predetermined settings and allowed for the incorporation of natural creativity into three-dimensional spaces.
Meyerhold emphasized the value of movement and rhythmic diction among his performers and theatrical productions. He applied other elements of the theatre, such as props, scenic backgrounds, and musical accompaniments minimally to emphasize the realistic essence of the performance. In a stylized theatre, the pattern of assimilation starts from the author directing it towards the director. After assimilating the creations of both proponents, the actor freely reveals their union towards the spectator (a.k.a. Theatre of Straight Line). Meyerhold had a very different approach in handling his performers.
He incorporated physical training from gymnastics and commedia dell’arte improvisations[14]. In the concept of stylized theatre, the director provides direction to the actor rather than controlling the movement and style of the performer[15]. Performers rely on their physical plasticity and emotional expression rather than props and scenic elements. To use theatre as an instrument of change, he utilized symbolism and creative improvisation from his performers, emphasizing possible change against predetermination[16]. Meyerhold believed in the natural creativity and role-assimilating talents of his performers. With this in mind, he planned to distort speculating audiences by diverting different possible alternatives for scenery[17].
Constantin Sergeyevich Stanislavski
Constantin Sergeyevich Stanislavski, the Russian actor and director, established five qualities that are essential for the proper function of theatre. These qualities include: (a) being a moral instrument, (b) civilizing society, (c) increasing sensitivity, (d) heightening perception and (e) uplifting the spirit [18]. Stanislavski became a significant symbol of theatrical realism among Russian theatres after his productions with Chekhov and Gorki such as The Sea Gull (1895) and The Cherry Orchard (1904).
Throughout his years of experience in theatrical acting, Stanislavski was able to master a wide range of roles while identifying major points that needed improvement. As a director, Stanislavski’s theatrical directions comprised a liberal precept that encouraged performers to adapt to the expressions and emotions of human relationships rather than just focusing on the technicalities of their roles.
The greatness of Stanislavski lies not only in his flexibility but also in his commitment to the cardinal principle of inner truth on stage.”[19]
Despite the perfect mood, lighting, technical execution by the performers, and intelligent scripts, Stanislavski still did not achieve his aim of effectively conveying the message of theatre to the audience. As a result, he improvised his system of direction. The theatrical style developed by Stanislavski came to be known as Experimental Theatre or Western Theatre due to its significant impact on Western theatrical culture.
Stanislavski believed that the only way to connect with an audience was through a more humanistic approach, rather than relying solely on technical performances. He proposed the idea of utilizing emotions and common human behaviors encountered in our everyday lives[20]. Guided by the ideologies of constructivism and improvisation based on expressional realism, Stanislavski developed his system for training and rehearsing performers at the Moscow Arts Theater. The main focus was performing through inner emotional experience, rather than just technical expertise in portraying stage roles[21]. According to the concept of Stanislavski’s System, performers must be trained to create their characters or portrayals by assimilating human expressions, emotions, and sensations naturally. They then embody this on stage to attain a naturally-derived artistic form that appeals to audiences.
Comparing the Ideas on Theatre as a Changeable Human Construct”
The three proponents, B. Brecht, V. Meyerhold, and C. Stanislavski, have made significant contributions to the field of revolutionary theater by using it as a means of delivering social reality and implicating the possibility of constructive modification towards the speculating audiences. They utilized theater not only as an entertaining tool but most importantly as a way to bring about change in society through its dynamic and constructive nature.
During the time of Brecht, Meyerhold, and Stanislavski, theater had become an instrument for showing repetitive performances every night without establishing a representational space populated by actors portraying different characters[22]. Stanislavski, as an actor and director, administered appropriate lighting, music, and technicalities of the act; however, the performance still ended up with expected outcomes. To revoke such conflict, he applied the principle of realism in theatrical performance. He aimed to train his performers by emphasizing the value of assimilating human expressions and emotions to form a naturally-derived art rather than focusing solely on technical elements[23]. With this concept in mind, he developed his experimental/western theatre utilizing expressions and emotions derived from everyday human living.
Building upon the concepts of realism and constructivism developed by Stanislavski, Meyerhold expanded on these ideas by incorporating locomotion and rhythm into the performers’ humanistic acts. To break away from traditional theatrical conventions, Meyerhold proposed a stylized theater that utilized a performer-audience line of delivery. This approach aimed to eliminate any preconceived notions or expectations during the performance process.
In order to emphasize the emotions, movements, and improvisations of the performers, Meyerhold minimized the use of classical elements such as music, lighting, and props. Instead, he encouraged his performers to internalize their roles and adapt them through direction – similar to Stanislavski’s approach – rather than simply studying their actions as a science [24].
The concept of Biomechanics, founded by Meyerhold, emphasizes the use of creativity, freedom of improvisation, and natural acts to break into the speculations of audiences. Unlike Brecht’s dialectic materialism, Meyerhold’s stylized theater aims at compelling spectators’ imagination by creating different possibilities a single scenery can produce[25]. Lastly, Brecht utilized Meyerhold’s concepts in an effort to break the expectations of the audience through his epic theatre.
Brecht’s style in demonstrating his artistic theater precepts involves Marxism and dialectical materialism. He proposed the application of different stage exhortations and comical entries to create a diversion for the speculative audience, with the main aim of creating a naturally established stage atmosphere with expressive acts and individualized roles that create different branches of possible alternatives. Brecht applied historical circumstances as products of reality experiences rather than psychologically perceivable roles and activities portrayed by performers.
Conclusion
In conclusion, Brecht, Meyerhold, and Stanislavski created their own revolutionary theatrical concepts. Brecht’s epic theatre utilized dialectic materialism through breaks and exhortations to redirect the audience’s expectations towards other potential sequences.
Meanwhile, Meyerhold used his performers to challenge the audience’s expectations. He incorporated various techniques, including biomechanics, artistic improvisation, and expression to train his actors. On the other hand, Stanislavski established the central theme of revolutionary theatre with his Stanislavski System that emphasized natural and human-based performances. This approach aimed to break down preconceptions of audiences and bring about change.
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- [1] Margaret Eddershaw, Performing Brecht: Forty Years of British Performances (New York: Taylor & Francis) 1996 23
[2] Jane Turner, Eugenio Barba (London, New York: Routledge) 2004 46
[3] Joseph R. Roach, The Player’s Passion: Studies in the Science of Acting (Michigan, U.S.A: University of Michigan Press) 1993 197
[4] Shomit Mitter and Maria Shevtsova, Fifty Key Theatre Directors (New York and London: Routledge) 2005 52
[5] Martin Puchner, Poetry of the Revolution: Marx, Manifestos, and the Avant-gardes (New York, U.S.A: Princeton University Press) 2006 231
[6] Paul Kuritz, The Making of Theatre History (New York, U.S.A: Paul Kuritz Press) 1988 383
[7] Mitter and Shevtsova, 52
[8] Kuritz, 383
[9] Trevor A. Hart, Steven R. Guthrie, Faithful Performances: Enacting Christian Tradition (London, New York: Ashgate Publishing, Ltd.) 2007 62
[10] Kuritz, 384
[11] David Wiles, A Short History of Western Performance Space (Cambridge, U.K: Cambridge University Press) 2003 252
[12] Richard Drain, Twentieth-century Theatre: A Sourcebook (London, New York: Routledge) 1995 243
[13] Claude Schumacher, Naturalism and Symbolism in European Theatre, 1850-1918 (Cambridge, U.K.: Cambridge University Press) 1996 236
[14] Kuritz, 384
[15] Drain, 244
[16] Wiles, 252
[17] Drain, 244
[18] Sally Mackey and Simon Cooper, Drama and Theatre Studies: for use with all Drama & Theatre Studies A & AS specifications (London, New York: Nelson Thornes Press) 2000 233
[19] James Roose-Evans, Experimental Theatre: From Stanislavski to Peter Brook (London, New York: Routledge) 1989 6
[20] Jean Benedetti and Alice L. Crowley, Stanislavski and the Actor: The Method of Physical Action (London, New York: Routledge) 1998 2
[21] Jennifer Ellen Robertson, Takarazuka: Sexual Politics and Popular Culture in Modern Japan (California, U.S.A: University of California Press) 1998 59
[22] Puchner, 231
[23] James Redmond, Drama, Dance, and Music (Cambridge, U.K: Cambridge University Press) 1981 239
[24] Kuritz, 383
[25] Jonathan Pitches, Vsevolod Meyerhold (London, New York: Routledge) 2003 52
