The Actor as a Dancer of his Character

‘The Actor as a dancer of his character’ is a workshop that had been organized by us.
We like to show it here, as a guide-line for what may come next.
Or, on your demand, and if you are a group of 8 persons, we can organize this workshop again, or if you have a wish, a totally different one!
Please take contact and let’s see what we can do for eachother.

Stage Mime 1 (127)

Masterworkshop in Theatrical Biomechanics of Meyerhold
Language: English/German/French/Dutch
Docent: Tony De Maeyer

This international introduction workshop of Biomechanics is for all actors and performers who want to discover the ethics and principles of the Theatrical Biomechanics developed by W. Meyerhold in the early 20’s.
During this workshop the performer will acquire a greater understanding of his material (his body) and of the possibilities of his physical expression on the stage through a contemporary approach of the Biomechanical principles.
Using the specific dynamic biomechanical training, the physical conscience of the actor is strengthened, so he can start to think more and more with his body. We will focus especially on balance, rhythm, space and observation, the musicality and the poetic expression of the body in motion.
Our goal will be to learn how we can involve the whole of the body in every single movement we make as an actor on stage.
We will learn to understand the basic principles of the biomechanics and put them into practice by working on the authentic etude ‘The Throwing of the Stone’ which was created and developed by W. Meyerhold and his students in the early 1920’s.
We will use the original music from F. Chopin used by Meyerhold when he first presented this Biomechanics Etude to the world.











“The modern actor is a flexible actor who knows how to organise his body with the uttermost attention.”  
T. De Maeyer



About W. Meyerhold
In the 1920s the theater-visionary W. Meyerhold brakes with the naturalistic and psychological based theatre of his mentor, K. Stanislavski.
While Stanislavski created the base of the modern western theater by defining the inner principles of the actor, Meyerhold searched for themovement principles of the actor, a quest that ultimately led to the  development of a new body language for actors Meyerhold called ‘Biomechanics’.
Both masters often are played out against each other in a quit simplistic way, while speaking that the actor works either from the inside to the outside, ‘Stanislavski’ or from the outside to the inside, ’Meyerhold’, I am convinced that we should not speak from either one or the other, but from Stanislavski plus Meyerhold.
The question arises though, where lays the beginning?
The actor who can combine both principles in his acting-performance will be able to shift the identification of his character to the audience, rather than within him or herself.
Only in this way will the audience be able to achieve a true catharsis. An artist cannot possible long for more.

“Constructing theater on the dogmas of psychology means to build a house on loose sand, it will collapse one day.”


De Maeyer’s brief biography TonyDeMaeyer portretje klein

De Maeyer studied drama at the Royal Conservatory in Antwerp (B).
In 1996 he met Gennadi N. Bogdanov in Berlin. This is the beginning of a very intense collaboration in which De Maeyer gets trained and educated in the Theatrical Biomechanics of Meyerhold by Gennadi N. Bogdanov.
Bogdanov is one of the last living exponents of the Biomechanics and was blessed with the

opportunity to learn from Nikolai Kustov, one of the last instructors from Meyerhold himself in the 1930s.
Thanks to many international performances throughout Europe, some of them directed by Bogdanov, De Maeyer had the opportunity to put the Biomechanics into practice as an actor. He is one of the few actors worldwide who have achieved the perfect assimilation of the Biomechanical principles in his acting work on stage as well as in film.
In November 2004, both De Maeyer and Bogdanov were invited to the International Symposium of the I.T.I. ‘The Actor, the Athlete of the heart’ in Ghent, where they performed Meyerhold’s most famous etudes and fragments of Biomechanics-presentations.
In 2006 he contributed to the creation of ‘Kazakov’, where he intensively coached the graduates of the renowned “Hochschule für Schauspielkunst Ernst Busch” in Berlin, using the biomechanics principles.
In 2009 he trained the Ensemble of the Wuppertaler Bühnen, directed by Christian von Treskow.
In the same year he assisted the actor Max Hopp for his leading role as Prometheus directed by Dimiter Gottscheff at the ‘Volksbühne’  in Berlin.
Since 2011 he is permanently appointed at “Die Etage, Schule für die Darstellende Künste” in Berlin, where he currently coaches actors.
In 2014 he started to teach the actors students of the ‘Universität der Künste’, better known as the ‘UdK’ in Berlin, as well  at the ‘Polsko Niemiecka Scena w Berlinie’.
For his acting he was honored in 1993 with the ‘Best Actor Award’ at the International Filmfestival in Brussels, Belgium
Since many years now De Maeyer is coaching theater companies and giving workshops in Biomechanics throughout Europe.

for more detailed info about Tony De Maeyer you can go to his website