Abstract
Western scholarship on Russian theatre has been so dominated by a few prominent figures that the casual student of theatre history might justifiably be left with the impression that Russian theatre began in 1898 with the founding of the Moscow Art Theatre and ended in the 1930s with Stalin's “purification” of Soviet art and literature and the untimely disappearance of Meierhold. The absence of a significant body of research further reinforces the notion that a small gaggle of men—most notably, those associated with the MAT—were solitary beacons of progress in the otherwise barren landscape of nineteenth-century popular theatre.
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