Introduction
It is not unusual to end edited collections such as these with a glimpse of the future, a recognition of how a historical figure’s ideas have been picked up, transformed, and applied in new contexts. The Routledge Companion to Stanislavsky, for instance, ends with Bella Merlin’s chapter ‘Here, today, now: active analysis for the 21st-century actor’ (Merlin 2014); its sister publication dedicated to Michael Chekhov concludes with Merlin’s namesake Joanna’s chapter: ‘The legacy of Michael Chekhov: then and now’(Merlin 2015); and the Routledge Companion to Puppetry and Material Performance (Posner, Orenstein and Bell 2014) has a final section ‘New Directions and Hybrid Forms’, much like ...
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