Abstract
Although the Soviet theatre is gigantic in extent and past achievements, its exact lineaments are often hard to discern from the West. Because of a distance which is linguistic, cultural, and political as well as geographical, balanced news does not filter through to us with any regularity; for many the Russian theatre is still summed up by one man—Stanislavski. Others are impressed by the Soviet system of permanent theatre companies but are unaware of their disadvantages and the pressures to which they are subject. Except on a few festival occasions, such as Edinburgh, London's “World Theatre Season,” or Aix-en-Provence, the theatre is not a very exportable commodity, and on the rare tours by Soviet theatre companies outside Eastern Europe, critical reaction has usually differed sharply.
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