ABSTRACT
An examination of Vsevolod Meyerhold’s ideal vision for the 1905 Theatre-Studio. Drawing upon skete monasticism and the rebellious spirit of student revolutionaries, Meyerhold’s radical vision of the new theatre centred upon the actor as ecstatic heretic. Discursively, the Theatre-Studio valorised the individual and leaned towards the masterskaya archetype, in practice, the Theatre-Studio contained the seeds of both archetypes. Hence, it is presented here as a prototype.
