The ideas and innovations of Constructivist practices by Vsevolod Meyerhold and his contemporaries have significantly influenced the techniques and approaches of con- temporary social theatre. The Constructivists’ focus on life-building closely aligns with the philosophy of social theatre, which is grounded in the potential to change the world for the better. The 1920s’ drive to make the stage a democratic space for dialogue and free self-expression, allowing individuals to be heard, also mirrors the foundational principles and new practices of social theatre. Modern tendencies often relate to the principles of their indirect predecessors — the ideas and practices of the Russian avant- garde. However, distinctions are evident: the utopianism of early Soviet artists and the pragmatic idealism of contemporary social theatre practitioners are not the same. While both movements share a belief in theatre as an art form capable of transforming life, they also differ significantly; time has not only introduced corrections but has profoundly altered the political agenda. The social orientation of theatre, emerging at different historical moments, influences both its place in public life and its language. By infusing their artistic activities with life-creating energy, the creators of such projects inevitably expand the traditional boundaries of performance, moving toward a more concrete structure, rather than a purely conventional framework.
Kristina Matvienko (2024) studied this question.