ABSTRACT
The present essay tackles the exigencies of Meyerhold scholarship in view of the Turkish director Şahika Tekand’s ‘Performative Staging and Acting Method’ as well as her theatrical praxis with Studio Oyuncuları. By siting Meyerhold’s conception of jeu de théâtre within the broad framework of his Biomechanics, the study first highlights the ideational potential of the aforesaid concept when it comes to laying bridges between different geographies, meanwhile Meyerhold’s ideas travel across time and space. Drawing on this notional bridge, the study charts the conceptual distance covered in the respective methodologies of Meyerhold and Tekand. Furthermore, to be able to lend closer ear to the biomechanical resonances in the theatre of Tekand, the essay shifts the focus from the theoretical field to the practical domain with a concluding glance at such indicative productions of Studio Oyuncuları as Anti-Prometheus after Aeschylus (2010), Play by Samuel Beckett (2016), and Io by Tekand herself (2019).
