Abstract
In a Russian modernist context, realism and constructivism are often regarded as two opposing, dominant forms. This chapter first describes the fraught history of Russian realism in Britain, from productions of Chekhov’s plays and the influence of the Moscow Art Theatre, to the appreciation or rejection of socialist realism. In so doing, it considers the work of translators (George Calderon, Elizaveta Fen, Maurice Baring), playwrights (G.B. Shaw), and practitioners (J.B. Fagan, Edward Gordon Craig, Isadora Duncan, Joseph Macleod) and the responses of audiences to perceived foreignness. It then seeks to reassess the way British theatre reacted to constructivism before focusing on three performances by Hubert Griffith and Alec Baron that seemingly combine these two Russian theatrical methods to create a hybridised aesthetic.
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