ABSTRACT
Since 1995, Chloe Whitehead and James Beale have been engaged in the practice and teaching of Biomechanics. First encountering the work of Gennady Bogdanov at the Centre for Performance Research symposium on Meyerhold, they went on to form Talia Theatre in 1997 and in the following eight years they engaged in annual intensives with Bogdanov with whom they created six regional touring productions. In 2004 Talia mutated into Proper Job Theatre with Biomechanics remaining at the heart of their practice.
This essay explores the company’s engagement with Biomechanics over the past quarter of a century and their attempts to develop their own practice deeply informed by Biomechanics. Proper Job’s productions are not created in imitation of Meyerhold or attempts at archaeological reconstructions, but as vibrant and relevant theatre made in the spirit of Meyerhold.
