Called to the stand
The origins of Russian documentary theatre
in Witness onstage
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

Chapter 1 narrates the history of documentary theatre in Russia. Though the emergence of the form is traditionally traced back to a series of Royal Court workshops on verbatim playwriting in 1999–2000, this chapter refocuses the form’s own particular heritage, considering that Russia’s twenty-first-century documentary theatre-makers draw on the example of such twentieth-century theatre artists as the Symbolists and the post-Vampilov generation, in that they share a distinct investment in blurring the boundaries between lived experience and its theatrical representation. Situating Russia’s documentary theatre practice within its national and international historical context, Chapter 1 presents a framework within which to consider why the form came to prominence in the first two decades of the new millennium and explores how it operates in its particular cultural and temporal space.

Witness onstage

Documentary theatre in twenty-first-century Russia


All Time Past Year Past 30 Days
Abstract Views 31 31 1
Full Text Views 0 0 0
PDF Downloads 0 0 0