The late Alma Law was coeditor of Slavic and East European Theater. The late Mel Gordon was a former professor of dramatic art at the University of California at Berkeley.

Table of Contents

Acknowledgments
Introduction

Part I. Meyerhold and Eisenstein

1. Meyerhold: From Actor to Revolutionary Director

2. Meyerhold: From Biomechanics to the Triumph of Socialist Realism

3. Eisenstein: From Engineer to Revolutionary Filmmaker

Part II. Biomechanics

4. Introduction

5. Biomechanical Exercises

6. Description of the Exercises

7. Program of Studies

Part III. Documents

8. Meyerhold on Biomechanics

Biomechanics of Vsevolod Meyerhold by M. Korenev

The Biomechanical Laboratory by M. Korenev

Principles of Biomechanics by M. Korenev

Meyerhold Demonstrates a Biomechanical Exercise by Erast Garin

The Actor of the Future and Biomechanicr by V.-Es.

Biomechanics According to Meyerhold by Ippolit Sokolov

Taylorism on the Stage by Arkady Pozdnev

Project: Profile of the Actor Graduating from the Meyerhold State Theatre School

Promptbook for "The Magnanimous Cuckhold"

9. Eisenstein on Biomechanics and Expressive Movement
Notes on Biomechanics by Sergei Eisenstein

Principles of Movement in Our Theatre by Sergei Eisenstein

What Is a "Raccourci" and What Is a Pose? by Sergei Eisenstein

At Rehearsals of "The Wiseman" by Aleksandr Levshin

Expressive Movement by Sergei Eisenstein and Sergei Tretyakov

On Recoil Movement by Sergei Eisenstein

Lecture on Biomechanics, March 29, 1935, by Sergei Eisenstein

10. International Accounts of Biomechanics

An Interview with Meyerhold at the Theatre of the Revolution by Lancelot Lawton

How Meyerhold Trains his Actors by John Martin

Biomechanics in Meyerhold's Theatre by André Van Gyseghem

Notes on Biomechanics by Lee Strasberg

Notes on Eisenstein's Lectures, 1934, by Marie Seton

A Biomechanical Session by Harold Clurman

Part IV. Appendices

Glossary of Biomechanical Terminology

Notes

Selected Bibliography

Index