circus-style effects were used in his most successful works of the time. Some of these works included Nikolai Erdman's The Mandate, Mayakovsky's Mystery-Bouffe, Fernand Crommelynck's Le Cocu magnifique (The Magnanimous Cuckold) and Aleksandr Sukhovo-Kobylin's Tarelkin's Death. Mayakovsky collaborated with Meyerhold several times, and was said to have written The Bedbug especially for him; Meyerhold continued to stage Mayakovsky's productions even after the latter's suicide. Acting techniques The actors participating in Meyerhold's productions acted according to the principle of biomechanics (only distantly related to the present scientific use of the term), the system of actor training that was later taught in a special school created by Meyerhold. Meyerhold's acting technique had fundamental principles at odds with the American method actor's conception. While method acting melded the character with the actor's own personal memories to create the character's internal motivation, Meyerhold connected psychological and physiological processes. He had actors focus on learning gestures and movements as a way of expressing emotion physically. Following Konstantin Stanislavski's lead, he said that the emotional state of an actor was inextricably linked to his physical state (and vice versa), and that one could call up emotions in performance by practicing and assuming poses, gestures, and movements. He developed a number of body expressions that his actors would use to portray specific emotions and characters. (Stanislavski was also at odds with Method acting, because like Meyerhold, his approach was psychophysical.) His influence Meyerhold gave initial boosts to the stage careers of some of the most distinguished comic actors of the USSR, including Sergey Martinson, Igor Ilyinsky and Erast Garin. His landmark production of Nikolai Gogol's The Government Inspector (1926) was described as the following: Energetic, mischievous, charming Ilyinsky left his post to the nervous, fragile, suddenly freezing, grotesquely anxious Garin. Energy was replaced by trance, the dynamic with the static, happy jesting humour with bitter and glum satire. Meyerhold also gave a start to his one time assistant of "The Queen of Spades" Matvey Dubrovin, who later created his own theater in Leningrad. In autumn 1921, Meyerhold was appointed head of the State Higher Theatre Workshops, in Moscow, where one of his first students was Sergei Eisenstein, who later wrote The God-like, incomparable Meyerhold, I beheld him then for the first time and I was to worship him all my life. But they fell out, apparently because Eisenstein failed to treat the older man with sufficient deference,