ABSTRACT
This essay discusses a number of Meyerhold’s pre-Revolution female collaborators, namely Ekaterina Munt, Valentina Verigina, and Alexandra Smirnova. Rather than footnotes in Meyerhold’s career, these performers and students collaborated with Meyerhold on an artistic level while also turning into important chroniclers of his work. They will be discussed here as creative performers in their own right, who were able to translate Meyerhold’s theoretical tenets into practical stage terms. More broadly, the essay proposes a three-levelled feminist critique – involving biographical description, artistic contextualisation, and destabilisation of power structures – as a way rediscovering female voices within the context of modern theatre and performance.
