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Tony De Maeyer

The Belgian actor for film and theatre was born in Brussels and studied at the Koninklijk Vlaamn Conservatorium in Antwerpen (B) with Ivo Van Hove, which was followed by year-long further education in workshops with, a.o., Luk Perceval, Minako Seki, Enrique Vargas, Thierry Salmon and many others.

In 1996 he met Gennadi N.Bogdanov in Berlin (Trainer for Biomechanics at the former GITIS in Moscow), which marks the beginning of an intensive cooperation, which enables De Maeyer to learn the practise of Biomechanics of Meyerhold. Most probably, De Maeyer is one of the only actors worldwide, who has achieved the perfect assimilation of the principles of Biomechanics for his acting practice, both on stage and in film. For many years, De Maeyer has led workshops for Biomechanics at theatre schools both internationally and nationally, e.g. at the Univerität der Künste, Akademie für Darstellende Kunst Baden-Württemberg or at Anton Bruckner Privatuniversität Linz, as wellas other private schools in Germany. As expert for Biomechanics he has been invited to many state theatres and ensembles to supervise their productions by training the actors, making them familiar with the principles of Biomechanics and directing bodies in space. Thus he has workes with, a.o., Christian von Treskow, Dimiter Gottschef, Darijan Mihajlovic.

De Maeyer‘s intention is to develop Biomechanics further as a modern acting technique and to free it from its often very dogmatic historic context. For the practice of acting, Biomechanis, in addition to Stanislawsky‘s method, still seems of high importance.

Since 2006, he has been working as trainer for Biomechanics at the mime centrum berlin.

At the Film festival Brussels, De Maeyer received the award for Best Actor in 1993.


Focus of training
The theatrical-biomechanical training essentially comprises a compendium of exercises to build up and improve the physical constitution of actors as well as to rehearse the principles of motion analysis and construction. The attention is focused on the interplay of balance, rhythm, space and perception of one's own body, as well as on the musicality and the poetic expressiveness of the body in motion.
Consciousness for form, spatial coordination, body control, rhythm and musicality but also eccentricity and grotesqueness, i. e. the search for extreme physical states, are important characteristics of the biomechanical play culture. Biomechanically trained actors are able to master an extremely broad spectrum of expressive possibilities and are able to change registers of acting within a very short period of time, from the expressive-artificial to a reduced naturalism or slapstick and clownery. The astonishing versatility of biomechanics and its ability to integrate new influences into its own system make it an effective instrument of eclectic, postmodern ways of playing, which aesthetically reflect the performative character of the theatre.

„The fundamental rule of Biomechanics is very simple: the whole body participates in every movement“
W. Meyerhold