Abstract

Focusing on three of Vsevelod Meierkhold’s productions from the early 1920s, this essay argues that the role of constructivism in the theatre was not limited to the creation of the stage set or prototypical models for the accouterments of the new communist lifestyle. Because the constructivist theatrical object redefined function in terms of the relationship among the actor, the performance, and the audience, the constructivist object succeeded through its transformation into a conceptual network of performances.

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Additional Information

ISSN
1086-332X
Print ISSN
0192-2882
Pages
pp. 57-76
Launched on MUSE
2013-03-19
Open Access
No
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