The Routledge Companion to Vsevolod Meyerhold brings together a wealth of scholarship on one of the foremost innovators in European theatre. It presents a detailed picture of the Russian director’s work from when it first emerged on the modern stage to its multifarious present-day manifestations.

By combining an historical focus with the latest contemporary research from an international range of perspectives and authors, this collection marks an important moment in Meyerhold studies as well as offering a new assessment of his relation to today's theatre-making. Its dynamic blend of research is presented in five sections: Histories enlarges on more conventional subjects like the grotesque and Biomechanics, to overlooked topics such as Meyerhold's ‘failed’ projects and his work in film; Collaborations and Connections extends understandings of Meyerhold’s well-known collaborative capacities to consider new cultural influences and lesser known working relationships; Sources engages with hitherto untapped material in Meyerhold’s oeuvre by reproducing and contextualising previously untranslated primary sources on his work; Practitioner Voices offer lively, on the ground, testimony of the contemporary impact of Meyerhold's practice; Meyerhold in New Contexts maps the routes of his practice across continents and examines ways in which his work is being applied in a number of contemporary scenarios, such as motion capture, computer-based 3D visualisations, and the ‘new normal’ of digital pedagogy.

This is a key resource for students and scholars of European Theatre, acting theory, and actor training, as well as for those more broadly interested in the socio-political impact of theatre.

Jonathan Pitches is Professor of Theatre and Performance and Head of the School of Performance and Cultural Industries at the University of Leeds. He specialises in performer training, ecocriticism, and blended learning. He is founding co-editor of the journal of Theatre, Dance and Performance Training.

Stefan Aquilina is a Senior Lecturer in Theatre Studies at the University of Malta and Co-Director of the Stanislavsky Research Centre. He has published extensively on modern theatre (especially Stanislavsky, Meyerhold, and amateur theatre), the transmission of embodied practice, and interdisciplinary performance.