ABSTRACT
As early as the 1960s Lyubimov had already used elements of the carnivalesque to enhance the democratic picture of society; Brecht's notion of street theatre further developed this notion of democratic participation by the audience. Elements of folk theatre emerged naturally in the attempt to return the theatre to past traditions: folk songs and the chastushka were frequently employed; the people (narod) became omnipresent on stage. It was therefore a logical and consistent step for Lyubimov to turn directly to elements of ritual and to the tradition of folk theatre in Boris Godunov.
