chapter  4
16 Pages

Toward the Theatre of the Future

In 1919 Vakhtangov began to develop his model of Popular Theatre. Due to Vakhtangov’s gift of synthesis, this new model absorbed his Theatre of Mystery, creating an original quality of theatre Vakhtangov later called fantastic realism. An observant reader may have noticed the presence of the theme of social mask, characteristic of Popular Theatre, in Vakhtangov’s pre-revolutionary productions. Similarly, we nd the elements of mystery in each of Vakhtangov’s nal productions of 1921-1922. The last time Vakhtangov consciously returned to this concept in his 1921 directorial plan of Tolstoy’s play The Fruits of Enlightenment, he did so through the prism of fantastic realism.1