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Texting the Fugitive Performance

  • Thomas J. Taylor
Extract

Theatre historians have always lamented the scarcity of documentary material with which to recreate the theatrical milieu that by definition lives in time and perishes. What we know of yesterday's stage art comes down to us in fragments, pieced together with the skills of the detective, virtually never whole, never complete. If only, we ask, if only theatre persons had the foresight to leave behind some coherent record of the marvels of their time, some busy notebooks, some hard facts, some interpretations, some organized recapitulation of the events themselves.

Copyright
COPYRIGHT: © American Society for Theatre Research 1981
References
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1 See Croydon, Margaret, Lunatics, Lovers & Poets: The Contemporary Experimental Theatre (New York: McGraw-Hill, 1974); Chaikin, Joseph, The Presence of the Actor (New York: Atheneum, 1972); Biner, Pierre, The Living Theatre (New York: Horizon, 1972); Schechner, Richard, Environmental Theater (New York: Hawthorn, 1973); and the “Rehearsal Procedures” issue of TDR (T–62), June 1974, for discussions of the generative process.

2 Schechner, Richard, “Decline and Fall of (American) Avant-Garde,” PAJ, #14 (March 1981), 48–63.

3 Malpede, Karen, Three Works by the Open Theater (New York: Drama Book Specialists, 1974), p. 38.

4 Kostelanetz, Richard, The Theatre of Mixed Means (New York: Dial, 1968), p. xiii.

5 Wittig, Susan, “A Semiological Approach to Dramatic Criticism,” ETJ (December 1974), 441–454; Burns, Elizabeth, Theatricality (New York: Harper & Row, 1972); Beckerman, Bernard, Dynamics of Drama (New York: Knopf, 1970); Searle, John, Speech Acts (Cambridge: Cambridge University Press, 1969).

* Thomas J. Taylor is Assistant Professor of English and Comparative Literature at the University of Cincinnati.

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Theatre Survey
  • ISSN: 0040-5574
  • EISSN: 1475-4533
  • URL: /core/journals/theatre-survey
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