The Bathhouse in the context of Russian Association of Proletarian Writers

Vladimir Vladimirovich Mayakovsky (19 July [O.S. 7 July] 1893 – 14 April 1930) was a Russian poet, playwright, artist, and actor. During his early, pre-Revolution period leading into 1917, Mayakovsky became renowned as a prominent figure of the Russian Futurist movement. He co-signed the Futurist manifesto, A Slap in the Face of Public Taste (1913), and wrote such poems as A Cloud in Trousers (1915) and Backbone Flute (1916). Mayakovsky produced a large and diverse body of work during the course of his career: he wrote poems, wrote and directed plays, appeared in films, edited the art journal LEF, and produced agitprop posters in support of the Communist Party during the Russian Civil War of 1917–1922.

Though Mayakovsky's work regularly demonstrated ideological and patriotic support for the ideology of the Bolsheviks and a strong admiration of Vladimir Lenin, his relationship with the Soviet state was always complex and often tumultuous. Mayakovsky often found himself engaged in confrontation with the increasing involvement of the Soviet state in cultural censorship and the development of the State doctrine of Socialist realism. Works that criticized or satirized aspects of the Soviet system, such as the poem "Talking With the Taxman About Poetry" (1926), and the plays The Bedbug (1929) and The Bathhouse (1929), met with scorn from the Soviet state and literary establishment.

The Bedbug (Russian: Клоп, romanized: Klop) is a play by Vladimir Mayakovsky written in 1928–1929 and published originally by Molodaya Gvardiya magazine (Nos. 3 and 4, 1929), then as a book, by Gosizdat, in 1929. "The faerie comedy in nine pictures", lampooning the type of philistine that emerged with the New Economic Policy in the Soviet Union, was premiered in February 1929 at the Meyerhold Theatre, with designs by Alexander Rodchenko. Received warmly by audiences, it caused controversy and received harsh treatment in the Soviet press. Unlike its follow-up, The Bathhouse (denounced as ideologically deficient), The Bedbug was criticised mostly for its alleged "aesthetic faults".

The play deals with the themes of suspended animation and being a proverbial fish out of water. In 1929, a young man is frozen in suspended animation during his wedding day. He is revived in the supposedly utopian world of 1979, where drunkenness, smoking, and swearing are long gone. Seen as a relic of the past, he ends up as a human exhibit at the local zoo.