An analysis of Vsevolod Meyerhold's biomechanical acting method through the concept of rhythm

This study aims to examine the biomechanical acting system developed by Vsevolod Meyerhold through the concept of rhythm. As one of the prominent figures in 20th-century theatre history, Meyerhold redefined acting not merely as a psychologically driven process but as a discipline that could be constructed through physical organization and rhythmic structure. His biomechanical approach asserts that each physical movement performed by an actor should follow a rhythmic cycle and be executed with precise timing, control, and flow. Within the scope of the study, the core principles of Meyerhold's biomechanical system are defined, and the function of rhythm is analysed in relation to gestures, movement timing, and onstage coordination. The approach is compared with Konstantin Stanislavski's psychological realism, highlighting the distinctive qualities of Meyerhold's physical and rhythm-oriented acting methodology. Additionally, the study discusses the pedagogical and conceptual parallels between Meyerhold's system and Emile Jaques-Dalcroze's eurhythmics method, as well as Johannes Itten's rhythm-based educational model at the Bauhaus. The findings of the research demonstrate that rhythm is not merely an auxiliary element in acting but a fundamental structure that shapes pedagogical practices in performance training. Rhythm enhances the actor's physical awareness, facilitates coherent group performance on stage, and sustains aesthetic expression. Meyerhold's system continues to offer a valid and productive foundation for contemporary physical theatre practices and actor training.