When the writer Anne Brewster (1818–1892) and the sculptor Harriet Hosmer (1830–1908) met in Italy in 1876, their conversation circled mainly around the recently deceased actress Charlotte Cushman. That itself was hardly unusual—Cushman was the talk of the town. During most of her adult life, Charlotte Cushman (1816–1876) was among the most-well known public figures in the Anglophone world. As an American actress who could boast a phenomenal success in Britain with roles as varied as Meg Merrilies and Romeo, Cushman dominated the theatrical scene on both sides of the Atlantic for several decades. While she might be forgotten today,1 she was everywhere during the height of her success. You can’t miss her in databases like ProQuest’s American Periodicals Series and Historical Newspapers or the Library of Congress’s Chronicling America: Historic American Newspapers. Yet if you relied only on these public sources, you’d miss a lot.
The Bolshevik Revolution strove to create a “new man,” a morally and psychologically superior human being. This new man required a complete physical and mental renewal, including, among other measures, the hygienic literacy of the masses. A wide range of media were employed for the Revolution’s ends, including not only various forms of print but also mobile cinemas and theatrical productions. A theater movement aimed at instructing the masses gained strength in the early years of the Revolution, and many theatrical performances addressed prevailing problems in public health. The hygienic awareness of the population was especially crucial during World War I and the Russian Civil War that followed, when diseases flourished in conditions of hunger and claimed millions of lives. In the 1920s, the performances came to local clubhouses and reached even the kolkhoz fields to entertain and educate workers and farmers. Beginning in 1925, theatrical hygiene propaganda was centrally managed by the newly founded Moscow Theater for Sanitary Culture (1924–1947).