After the Russian actor and teacher Gennadi Nikolaevich Bogdanov became known as an authentic representative of Meyerhold's biomechanics in 1990, from 1991 onwards, the former mime centrum coordinated the Europe-wide organisation of regular working formats and theatrical practice based on biomechanics at various levels.
Beginning with the first public demonstration of this method in 1991 at the Berliner Ensemble, the mcb organised workshops in Italy, France, Greece, Belgium and the Netherlands as well as the first international working colloquium at the GITIS in Moscow in 1993.
On the initiative of the Berliner Festspiele and in the context of the exhibition "Moscow – Berlin. Berlin – Moscow" a cooperation between the Festspiele, the Hochschule für Schauspielkunst Ernst Busch Berlin (HfS), the mime centrum and Gennadij Bogdanov with the aim of applying the method for the first time in contemporary theatre practice, came into being. Under the direction of Thomas Ostermeier and Christian von Treskow - still students of the HfS at that time - two productions were created unanimously and in part euphorically acclaimed by theatre critics. Since then, Meyerhold's biomechanics have been a recurring element in the training of all courses of study at HfS Berlin.
Together with Jörg Bochow, in 1997 the mime centrum berlin published the book and film "Das Theater Meyerholds und die Biomechanik" (The Theatre of Meyerhold and Biomechanics). In the same year, Bogdanov and Thomas Ostermeier staged Brecht's "Mann ist Mann" (Man Equals Man) on the basis of theatrical biomechanics at the Baracke at the Deutsches Theater Berlin.
In 1999, following the appointment of Thomas Ostermeier as director of the Schaubühne am Lehniner Platz, Ostermeier and Bogdanov conducted an introductory training process for the new acting ensemble.
Over the years, the mime centrum berlin has organized numerous projects and demonstrations of the method in Germany (Staatsoper unter den Linden, Schirn Frankfurt, etc.) and developed a small European network concerned with practical theatre work together with actors from Manchester (UK) and Perugia (Italy), resulting in various staging projects.
Theatrical biomechanics is becoming more and more important as an acting method in the education at state and private acting schools. In addition to theatre studies and acting training, interest in the wide field of theatre education has increased in recent years. Initially primarily focused on training methodology, theatre teachers, directors of theater pedagogical centres and school teachers are increasingly interested in the diverse applications of Meyerhold's biomechanics and its application in the field of cultural education.