INTRODUCTION
Ideas of what is ‘new’ in theatre and its scholarship are often contentious, which is why in our use of the word in the title ‘Meyerhold in New Contexts’ we have opted to be guided by Ezra Pound’s maxim ‘Make it New’ (Lewis 2007: 26–7): in this sense, claims of originality and novelty are informed less by sharp and sudden shifts in thinking and more by an effort to understand a given field by approaching it afresh, endeavouring ‘to show new sides of [a] reality to people who had become accustomed to seeing only one side’ (26). In the case of Meyerhold, this one-sided reading is underscored by the accumulation of a series of well-known reference points – the grotesque, stylisation, ...
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