Summary:In this article, the stagement of Tadashi Suzuki on Edmond Rostand's Cyrano de Bergerac, and, as well as, the similarities and differences between this stagement and the one held by Meyerhold at 1920's, are investigated, through Meyerhold's “jeu de theatre” concept. Taking into account the work of Meyerhold on stylization and bio-mechanics and examining Suzuki's projects, it is observed that it is possible to establish a sort of bridge between two theatre people; a bridge that is constructed upon some structural factors, is  related to skin and body and perceived more through perception rather than mind. In this respect, studying this bilateral relationship may help reveal factors related to theatrical or hermetic staging, as described by Patrice Pavis.