The beginning of new explorations in the art of theatre at the turn of the 20th century paved the way for the emergence of the concept of theatricality as a counterpoint to the classical model of representation. The theatre practitioners of this period, motivated by the desire for theatre to assert its autonomy, prioritized its inherent scenic tools and began to redefine the relationship between actor and audience. One of the most innovative figures of this period, Vsevolod Meyerhold, consistently sought out new theatrical forms that emphasized this redefined relationship- an endeavor that persisted throughout his life. Meyerhold's system, known as biomechanics, was gradually refined over approximately fifteen years, beginning with his Theatre-Studio experiments and culminating in his celebrated productions at the Meyerhold Theatre. Nevertheless, his work remained in constant evolution. This study approaches biomechanics not merely as a physical training method, but as a theatrical perspective grounded in the actor's experiential process. Biomechanical work involves compositions of action that are interwoven with dramatic structures and foster a particular way of thinking in the performer. This cognitive and performative framework is closely tied to the principle of montage, which constitutes a core element of actor dramaturgy. Through biomechanical training, actors acquire the ability to structure and express their performance with intentionality and precision. In this context, how the actor engages with the material becomes more significant than what the material is. The biomechanical perspective equips the performer with the tools to establish a solid artistic foundation that functions independently of predetermined forms or conditions.