ABSTRACT
In my essay, I revisit the principles and practices of the two great reformers of the Russian scene of the twentieth century with the support of the documentation now available. First, I study periods of the Meyerhold and Stanislavsky collaboration to show what brings together and what opposes the two artists. Second, I mention sensitive points in Meyerhold’s path: his rejection of the Moscow Art Theatre’s aesthetics and apoliticism, his rivalry with Stanislavski, his determination to impose his acting method against the System. Finally, I compare the foundations and challenges of Biomechanicswith Stanislavsky’s last experimentations on ‘the line of physical actions’.
