Abstract
The aim of this article is to analyse the revolution of the gesture on the Russian theatrical scene during the first years of the 20th century. The focus of the analysis is on the ex-amination of the theatrical experiments and practices developed by the director Vsévolod Meyerhold, analysing the ways in which he ide-alised the theatrical gesture as a revolutionary proposal to the Western theatre. The concept of gesture is fundamental in the works of Giorgio Agamben, whose philosophy dialogues with the other authors discussed in this article. In the theatre sphere, the discussion about the concept of gesture is based on the perspectives of Patrice Pavis and Bertold Brecht. Agamben's works, discussed in this article, reflect on a society that lost the power over its gestures and obsessively fights to reclaim them. The philosopher draws parallels between artists and writers that pro-posed, in many different ways, the reclamation of the consciousness of gesture. From this per-spective, this article points at some artistic ref-erences that redefined, each by its own manner, the gesture and the body in the art. The main focus of this discussion is Meyerhold and how he revolutionised the theatrical gesture.
