Voulez-vous jouer avec moâ? (1922) written by Marcel Achard and produced at the Théâtre de l'Atelier, Paris, on 18 December, 1923

Two scenes from Voulez-vous jouer avec moâ? (Do you want to play with me? first published in 1922) written by the French playwright Marcel Achard (1899-1974) and produced at the Théâtre de l'Atelier, Paris, on December 18, 1923.

La Maison Natale (1923) written by Jacques Copeau and produced at the Théâtre du Vieux-Colombier, Paris, in 1923

   A scene from La Maison Natale (The Birthplace, 1923) written by the French playwright Jacques Copeau (1879 - 1949) and produced at the Théâtre du Vieux-Colombier, Paris, with J. Copeau playing as Félix Daronge, on December 18, 1923.

   Written by Jacques Copeau; directed by Jacques Copeau; with Jacques Copeau in the role of Félix Daronge, André Bacqué as Bernard Hersant and Gina Barbieri as Julie Hersant.

Knock (1923) written by Jules Romains and produced at the Théâtre des Champs-Élysées, on December 14, 1923

A scene from Knock (Knock ou le Triomphe de la médecine, first published in 1923) written by the French playwright Jules Romains (1885-1972) and first produced at the Théâtre des Champs-Élysées, Paris, on December 15, 1923, starring Louis Jouvet (French actor, 1887 - 1951).

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Les Ratés (1920) written by Henri-René Lenormand and produced at the Theatre Guild, New York, in 1923-24

Scenes from Les Ratés (The Failures, 1920) written by the French playwright Henri-René Lenormand (having steeped in symbolism, 1882 - 1951) and produced at the Garrick Theatre, New York City, by the Theatre Guild, under the direction of Stark Young (1881 - 1963) with the stage designed by Lee Simonson (American stage setting designer, 1888 - 1967), having run for 40 performances from November 19, 1923 to January 1924.

 

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The World Turned Upside Down written by Sergei Mikhailovich Tretyakov and performed at the Meyerhold Theatre, Moscow, on 7 November 1923.

   Scenes from The World Turned Upside Down written by the Russian playwright Sergei Mikhailovich Tretyakov (1892-1937) and performed at the Meyerhold Theatre, Moscow, on 7 November 1923.

   The World Turned Upside Down, an adaptation of Marcel Martinet's poem La nuit (1922), presented at the Meyerhold Theatre in Moscow on 7 November 1923 and directed by Vsevolod Meyerhold.

Stage Design For The Play "The World Turned Upside Down" By S. Tretyakov

 

The turbulent story of the Meyerhold Theatre started in 1920, when Meyerhold established the First Theatre of RSFSR. In 1921, Meyerhold established the State Higher Director Workshops. There he worked on developing biomechanics — a system of exercises that helped actors to manage body movements consciously, accurately, and naturally. After the First Theatre of RSFSR was closed, Meyerhold organized the Vs. Meyerhold Free Workshop.

Nebeneinander (1923) written by Georg Kaiser and produced at Die Truppe, Berlin, in 1923

A scene from Nebeneinander (Side by Side, 'people's play,' 1923) written by the German playwright Georg Kaiser (1878 - 1945) and produced by the theatre group of Die Truppe, under the direction of Berthold Viertel (Austrian director, 1885 - 1953) with design by George Grosz, at the Schauspielhaus, Berlin, on November 3, 1923. With this play Kaiser moved away from the Expressionism of his previous works.

 

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Scenes from Nebeneinander (Side by Side), written by Georg Kaiser, and premiered at the Schauspielhaus, Berlin, on 3 November, 1923, directed by Berthold Viertel with design by George Grosz.

Scenes from Nebeneinander (Side by Side), written by the German playwright Georg Kaiser (1878 – 1945), and premiered at the Schauspielhaus, Berlin, on 3 November,  1923, directed by Berthold Viertel with design by George Grosz. 

Kaiser's drama Side by Side (Nebeneinander, 1923), a 'people's play' (Volksstück), premiered in Berlin on 3 November 1923, directed by Berthold Viertel with design by George Grosz. With this play Kaiser moved away from the Expressionism of his previous works. Utilizing a more rounded characterization and more realistic curt, comic dialogue to tell a light-hearted story of an idealistic pawnbroker caught up in the hyperinflation afflicting Germany at the time (the currency stabilization came a fortnight after the play opened), the play inaugurated the 'new sobriety' (Neue Sachlichkeit) in the drama. "Kaiser has left the cloud that used to surround him," a review in the Weltbühne suggested, "and landed with both feet on the earth."