Biomechanika – naukowa organizacja pracy aktora. O związkach treningu aktorskiego Wsiewołoda Meyerholda z koncepcją tayloryzmu
Theatrical Biomechanics—the Scientific Management of an Actors Work: On Links between Vsevolod Meyerhold’s Actor Training and the Concept of Taylorism

Summary/Abstract: The paper addresses the relationship between “theatrical Taylorism,” i.e. Vsevolod Meyerhold’s biomechanics, and Frederick Winslow Taylor’s scientific organisation of work, arguing that biomechanics, although inspired by the tools of Taylor, the Gilbreths, and Le Chatelier, constituted an autonomous theatrical scientific study that approached the actor’s body as an object of research rather than objectifying control. The analysis is based on a study of source materials and the author’s own empirical experience in biomechanical training, enabling the reconstruction of the practical aspects of the method. Previous research on theatrical biomechanics has been taken into account, pointing to the hitherto overlooked emancipatory dimension of Meyerhold’s method. The article discusses key concepts of acting training, such as the biomechanical third, in the context of scientific labour management to show how biomechanics was situated between the productivity discourse and the artist’s autonomy.

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