A classic tends to age, disappear from active repertory, and then revive to meet the spiritual needs of a new audience, no less—and sometimes more—than do contemporary plays.

In recent years, Soviet theatre has increasingly produced the classics. Plays which not long ago saw little more than a dustrag have become the subject of violent debate, making new names for actors and directors.

Venerable academicians, learned literary scholars and theatre historians who have devoted their lives to the study of Russian classics react with divided feelings. They are pleased that their beloved plays once more meet the needs of the day, but are infuriated by what they see as the disrespect of the directors. Some of the older theatre-goers are also unsatisfied with contemporary interpretations of the classics.