The Life of the Constructivist Theatrical Object

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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