ABSTRACT
A brief tracing of how the studio has historically been conceived in Russian theatre. Primarily this has been as a governmental status and a place for amateur experiments. In the context of the latter, the term samodeiatelnost is introduced to mean essentially DIY culture making. Combining samodeiatelnost with conceptions of sincerity and authenticity, the studio theatre’s connection with the audience is formulated as the basis for this study’s conception of communion.
