(Applause Books). This book traces three tumultuous decades of avant-garde theatre in the U.S. It begins with the Living Theatre, and explores diverse ensembles such as The Open Theatre, The Performance Group, and Bread and Puppet Theatre. It also looks at the women's theatre movement, and examines the work of Robert Wilson, Meredith Monk, Richard Foreman and more. There are sections devoted to ritual concepts, theatre in the streets, radical participation of the spectator, workshops in prisons, spectacles such as the Greenwich Village Halloween Parade, and much more. This giant colloquium involves the people who changed the face of theatre from the '60s onward. Filled with photos, drawings, private notes and fliers, it is part ongoing history, part document, part journal, part complaint and part blessing.

The Radical in Performance investigates the crisis in contemporary theatre, and celebrates the subversive in performance. It is the first full-length study to explore the link between a western theatre which, says Kershaw, is largely outdated and the blossoming of postmodern performance, much of which has a genuinely radical edge. In staying focused on the period between Brecht and Baudrillard, modernity and postmodernism, Baz Kershaw identifies crucial resources for the revitalisation of the radical across a wide spectrum of cultural practices. This is a timely, necessary and rigorous book. It will be a compelling read for anyone searching for a critical catalyst for new ways of viewing and practising cultural politics.

A dynamic exploration of eight radical theater collectives from the 1960s and 70s, and their influence on contemporary performance

Provides an international forum where theatrical scholarship and practice can meet to question dramatic assumptions.

A classic work of theatre history and criticism when first published, Arnold Aronson's formative study surveyed the phenomenon known as environmental theatre. Now updated in this richly illustrated second edition to reflect developments and practice since the 1980s, it offers readers a comprehensive study of the theatre practice which has evolved to become the dominant mode of much contemporary innovative performance. For most audiences, particularly in the Western tradition, theatre means going to a building in which seats face a stage on which actors perform a play. But there has always been a vital alternative that came to be known as environmental theatre. Whether in folk performances, street theatre, avant-garde performance, utopian architecture, Happenings, mass spectacles, or contemporary immersive theatre, the relationship of the spectator to the performance has been one in which the audience is surrounded or immersed in a shared space, in which the multiple events may be happening simultaneously, and in which the experience of theatrical space is visceral and often kinetic. This book examines the history of this phenomenon and looks at a range of contemporary practice. New chapters examine how the 'transformed spaces' of earlier work have become the interactive and immersive productions that characterize the work of companies such as Punchdrunk, dreamthinkspeak, Teatro da Vertigem, En Garde Arts, and The Industry, among others. Updated to take account of the burgeoning scholarship on the subject, The History and Theory of Environmental Scenography remains the authoritative account that illuminates present day theatre practice and its antecedents.

Across two volumes, Mike Vanden Heuvel and a strong roster of contributors present the history, processes, and achievements of American theatre companies renowned for their use of collective and/or ensemble-based techniques to generate new work. This first study considers theatre companies that were working between 1970 and 1995: it traces the rise and eventual diversification of activist-based companies that emerged to serve particular constituencies from the countercultural politics of the 1960s, and examines the shift in the 1980s that gave rise to the next generation of company-based work, rooted in a new interest in form and the more mediated and dispersed forms of politics. Ensembles examined are Mabou Mines, Theatre X, Goat Island, Lookingglass, Elevator Repair Service, and SITI Company. Preliminary chapters provide a sweeping overview of ensemble-based creation within the general historical and cultural contexts of the period, followed by a detailed study of the evolution of ensemble-based work. The case studies consider factors such as influence, funding, production, and legacies, as well as the forms of collective devising and creation, while surveying the continuing work of significant long-running companies. Contributors provide detailed case studies of the 6 companies from the period and cover: * A chronicle of development and methods * Key productions and projects * Critical reception and legacy * A chronological overview of significant productions From the long history of collective theatre creation, with its sources in social crises, urgent aesthetic experimentation and utopian dreaming, American ensemble-based theatre has emerged at several key points in history to challenge the primacy of author-based and director-produced theatre. As the volume demonstrates, US ensemble companies have collectively revolutionized the form and content of contemporary performance, influencing experimental, as well as mainstream practice.