The Paris show on tour in 1930 was an important opportunity to Meyerhold because he was standing at a fork of taking a leap based on the success in the Western countries or degenerating into a political scapegoat. Despite many concerns, Meyerhold gave a huge shock to the French theatre world by succeeding in the show on tour. In Paris at that time, the commercial theatres like Boulevard Theatre and Music Hall were mainly performed while the performance by the Russian director was a bit different from them. The Forest(1924) and The Government Inspector(1926) fully contained the unique art world of Meyerhold that could not be found in France. On top of remarkably showing the constructivist stage and biomechanics, they showed such unique characteristics like episodic composition, simple stage equipment, actors’ mime-like acting, removal of stage curtains, and exposure of scene change. Even though the Cartel des Quatre (Fourth Cartel member) who claimed to stand for avant-garde theatre were fascinated by this show on tour, they all remained in the French tradition emphasizing the authors and language. What Meyerhold aimed for was actually revived by the theatrical people of next generations such as Jean Vilar, Ariane Mnouchkine, Peter Brook, and Michel Crespin about 10-30 years later. After getting out of the traditional stage space, they approached the citizens by refusing the texts and naturalism. This could be viewed as a legacy from the Russian director to France.
I. 들어가며
II. ‘광란의 시대’의 파리 연극
III. 충격 속의 카르텔 멤버들
IV. 메이예르홀트의 순회공연: ｢검찰관｣, ｢숲｣
V. 민중극을 향한 프랑스 연극계의 기나긴 도전
VI. 나가며
참고문헌