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</div> </div> </div> </div> </div> </div> </nav> </div> </div> </div> <div class="vector-column-end"> <div class="vector-sticky-pinned-container"> <nav class="vector-page-tools-landmark" aria-label="Page tools"> <div id="vector-page-tools-pinned-container" class="vector-pinned-container"> </div> </nav> <nav class="vector-appearance-landmark" aria-label="Appearance"> <div id="vector-appearance-pinned-container" class="vector-pinned-container"> <div id="vector-appearance" class="vector-appearance vector-pinnable-element"> <div class="vector-pinnable-header vector-appearance-pinnable-header vector-pinnable-header-pinned" data-feature-name="appearance-pinned" data-pinnable-element-id="vector-appearance" data-pinned-container-id="vector-appearance-pinned-container" data-unpinned-container-id="vector-appearance-unpinned-container" > <div class="vector-pinnable-header-label">Appearance</div> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-pin-button" 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src="//upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Robinwhitewhorecrosshalf.jpg/220px-Robinwhitewhorecrosshalf.jpg" decoding="async" width="220" height="143" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Robinwhitewhorecrosshalf.jpg/330px-Robinwhitewhorecrosshalf.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Robinwhitewhorecrosshalf.jpg/440px-Robinwhitewhorecrosshalf.jpg 2x" data-file-width="1080" data-file-height="704" /></a><figcaption>Robin Bittman in <a href="/wiki/Corner_Theatre_ETC" title="Corner Theatre ETC">Corner Theatre ETC</a>'s 1981 production of Tom Eyen's <i>The White Whore and the Bit Player</i>, directed by <a href="/wiki/Brad_Mays" title="Brad Mays">Brad Mays</a>.</figcaption></figure> <p><b>Experimental theatre</b> (also known as <b>avant-garde theatre</b>), inspired largely by <a href="/wiki/Richard_Wagner" title="Richard Wagner">Wagner</a>'s concept of <a href="/wiki/Gesamtkunstwerk" title="Gesamtkunstwerk">Gesamtkunstwerk</a>,<sup id="cite_ref-:2_1-0" class="reference"><a href="#cite_note-:2-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> began in Western <a href="/wiki/Theatre" title="Theatre">theatre</a> in the late 19th century with <a href="/wiki/Alfred_Jarry" title="Alfred Jarry">Alfred Jarry</a> and his <a href="/wiki/Ubu_Roi" title="Ubu Roi">Ubu plays</a> as a rejection of both the age in particular and, in general, the dominant ways of writing and producing plays. The term has shifted over time as the mainstream theatre world has adopted many forms that were once considered radical. </p><p>Like other forms of the <a href="/wiki/Avant-garde" title="Avant-garde">avant-garde</a>, it was created as a response to a perceived general cultural crisis. Despite different political and formal approaches, all avant-garde theatre opposes bourgeois theatre. It tries to introduce a different use of <a href="/wiki/Language" title="Language">language</a> and the <a href="/wiki/Human_body" title="Human body">body</a> to change the mode of <a href="/wiki/Perception" title="Perception">perception</a><sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> and to create a new, more active relation with the audience. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Relationships_to_audience">Relationships to audience</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Experimental_theatre&action=edit&section=1" title="Edit section: Relationships to audience"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Famed experimental theatre director and playwright Peter Brook describes his task as building "… a necessary theatre, one in which there is only a practical difference between actor and audience, not a fundamental one."<sup id="cite_ref-Brook_3-0" class="reference"><a href="#cite_note-Brook-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p><p>Traditionally audiences are seen as passive observers. Many practitioners of experimental theatre have wanted to challenge this. For example, <a href="/wiki/Bertolt_Brecht" title="Bertolt Brecht">Bertolt Brecht</a> wanted to mobilise his audiences by having a character in a play break through the invisible "fourth wall", directly ask the audience questions, not giving them answers, thereby getting them to think for themselves; <a href="/wiki/Augusto_Boal" title="Augusto Boal">Augusto Boal</a> wanted his audiences to react directly to the action; and <a href="/wiki/Antonin_Artaud" title="Antonin Artaud">Antonin Artaud</a> wanted to affect them directly on a subconscious level.<sup id="cite_ref-Bermel_4-0" class="reference"><a href="#cite_note-Bermel-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Peter Brook has identified a triangle of relationships within a performance: the performers' internal relationships, the performers' relationships to each other on stage, and their relationship with the audience.<sup id="cite_ref-Brook_3-1" class="reference"><a href="#cite_note-Brook-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Traditional_5-0" class="reference"><a href="#cite_note-Traditional-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> The British experimental theatre group <a href="/wiki/Welfare_State_International" title="Welfare State International">Welfare State International</a> has spoken of a ceremonial circle during performance, the cast providing one half, the audience providing another, and the energy in the middle.<sup id="cite_ref-Welfare_6-0" class="reference"><a href="#cite_note-Welfare-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>Aside from ideological implications of the role of the audience, theatres and performances have addressed or involved the audience in a variety of ways. The <a href="/wiki/Proscenium_arch" class="mw-redirect" title="Proscenium arch">proscenium arch</a> has been called into question, with performances venturing into <a href="/wiki/Site_specific_theatre" class="mw-redirect" title="Site specific theatre">non-theatrical spaces</a>. Audiences have been engaged differently, often as active participants in the action on a highly practical level. When a proscenium arch has been used, its usual use has often been subverted. </p><p>Audience participation can range from asking for volunteers to go onstage to having actors scream in audience members' faces. By using audience participation, the performer invites the audience to feel a certain way and by doing so they may change their attitudes, values and beliefs in regard to the performance's topic. For example, in a performance on bullying the character may approach an audience member, size them up and challenge them to a fight on the spot. The terrified look on the audience member's face will strongly embody the message of bullying to the member and the rest of the audience. </p><p>Physically, theatre spaces took on different shapes, and practitioners re-explored different ways of staging performance and a lot of research was done into Elizabethan and Greek theatre spaces. This was integrated into the mainstream, the <a href="/wiki/Royal_National_Theatre" title="Royal National Theatre">National Theatre</a> in <a href="/wiki/London" title="London">London</a>, for example, has a highly flexible, somewhat Elizabethan traverse space (the Dorfman), a proscenium space (the Lyttelton) and an amphitheatre space (the Olivier) and the directors and architects consciously wanted to break away from the primacy of the proscenium arch. <a href="/wiki/Jacques_Copeau" title="Jacques Copeau">Jacques Copeau</a> was an important figure in terms of stage design, and was very keen to break away from the excesses of naturalism to get to a more pared down, representational way of looking at the stage.<sup id="cite_ref-Callery_7-0" class="reference"><a href="#cite_note-Callery-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Social_contexts">Social contexts</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Experimental_theatre&action=edit&section=2" title="Edit section: Social contexts"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The increase of the production of experimental theaters during the 1950s through the 1960s has prompted some to cite the connection between theater groups and the socio-political contexts in which they operated.<sup id="cite_ref-:0_8-0" class="reference"><a href="#cite_note-:0-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Some groups have been prominent in changing the social face of theatre, rather than its stylistic appearance. Performers have used their skills to engage in a form of cultural activism. This may be in the form of <a href="/wiki/Didactic" class="mw-redirect" title="Didactic">didactic</a> <a href="/wiki/Agit-prop" class="mw-redirect" title="Agit-prop">agit-prop</a> theatre, or some (such as <a href="/wiki/Welfare_State_International" title="Welfare State International">Welfare State International</a>) see a performance environment as being one in which a micro-society can emerge and can lead a way of life alternative to that of the broader society in which they are placed.<sup id="cite_ref-Welfare_6-1" class="reference"><a href="#cite_note-Welfare-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> For instance, in a study of South American theatrical developments during the 1960s, the Nuevo Teatro Popular materialized amid the change and innovations entailed in the social and political developments of the period. This theatrical initiative was organized around groups or collective driven by specific events and performed themes tied to class and cultural identity that empowered their audience and help create movements that spanned national and cultural borders.<sup id="cite_ref-:0_8-1" class="reference"><a href="#cite_note-:0-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> These included <a href="/wiki/Utopia" title="Utopia">Utopian</a> projects, which sought to reconstruct social and cultural production, including their objectives. </p><p><a href="/wiki/Augusto_Boal" title="Augusto Boal">Augusto Boal</a> used the Legislative Theatre on the people of Rio to find out what they wanted to change about their community, and he used the audience reaction to change legislation in his role as a councillor. In the United States, the tumultuous 1960s saw experimental theater emerging as a reaction to the state's policies on issues like nuclear armament, racial social injustice, homophobia, sexism and <a href="/wiki/Military%E2%80%93industrial_complex" title="Military–industrial complex">military–industrial complex</a>.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> The mainstream theater was increasingly seen from as a purveyor of lies, hence, theatrical performances were often seen as a means to expose what is real and this entails a focus on hypocrisy, inequality, discrimination, and repression. This is demonstrated in the case of <a href="/wiki/Jerzy_Grotowski" title="Jerzy Grotowski">Grotowski</a>, who rejected the lies and contradictions of mainstream theater and pushed for what he called as truthful acting in the performances of his Poor Theater as well as his lectures and workshops. </p><p>Experimental theatre encourages directors to make society, or our audience at least, change their attitudes, values, and beliefs on an issue and to do something about it. The distinction was explained in the conceptualization of experimentation that "goes much deeper and much beyond than merely a new form/or novel content" but "a light that illuminates one's work from within. And this light in the spirit of quest – not only aesthetic quest – it is an amalgam of so many quests – intellectual, aesthetic, but most of all, spiritual quest."<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Methods_of_creation">Methods of creation</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Experimental_theatre&action=edit&section=3" title="Edit section: Methods of creation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Traditionally, there is a highly hierarchical method of creating theatre - a writer identifies a problem, a writer writes a script, a director interprets it for the stage together with the actors, the performers perform the director and writer's collective vision. Various practitioners started challenging this and started seeing the performers more and more as creative artists in their own right. This started with giving them more and more interpretive freedom and <a href="/wiki/Devised_theatre" title="Devised theatre">devised theatre</a> eventually emerged. This direction was aided by the advent of ensemble improvisational theater, as part of the experimental theatre movement, which did not need a writer to develop the material for a show or "theater piece". In this form the lines were devised by the actors or performers. </p><p>Within this many different structures and possibilities exist for performance makers, and a large variety of different models are used by performers today. The primacy of the director and writer has been challenged directly, and the directors role can exist as an outside eye or a <a href="/wiki/Facilitator" title="Facilitator">facilitator</a> rather than the supreme authority figure they once would have been able to assume. </p><p>As well as hierarchies being challenged, performers have been challenging their individual roles. An inter-disciplinary approach becomes more and more common as performers have become less willing to be shoe-horned into specialist technical roles. Simultaneous to this, other disciplines have started breaking down their barriers. <a href="/wiki/Dance" title="Dance">Dance</a>, <a href="/wiki/Music" title="Music">music</a>, <a href="/wiki/Video_art" title="Video art">video art</a>, <a href="/wiki/Visual_art" class="mw-redirect" title="Visual art">visual art</a>, <a href="/wiki/New_media_art" title="New media art">new media art</a> and <a href="/wiki/Writing" title="Writing">writing</a> become blurred in many cases, and artists with completely separate trainings and backgrounds collaborate very comfortably. </p> <div class="mw-heading mw-heading2"><h2 id="Interculturalism_and_Orientalism_in_Experimental_Theatre">Interculturalism and Orientalism in Experimental Theatre</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Experimental_theatre&action=edit&section=4" title="Edit section: Interculturalism and Orientalism in Experimental Theatre"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In their efforts to challenge the realism of western drama, many modernists looked to other cultures for inspiration. Indeed, <a href="/wiki/Antonin_Artaud" title="Antonin Artaud">Artaud</a> has often credited the Balinese dance traditions as a strong influence on his experimental theories: his call for a departure from language in the theatre,<sup id="cite_ref-:1_11-0" class="reference"><a href="#cite_note-:1-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> he says, partially came to him as a concept after having seen the Balinese Theatre's performance at the Colonial Exhibition in Paris in 1931.<sup id="cite_ref-:2_1-1" class="reference"><a href="#cite_note-:2-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> He was particularly interested in the symbolic gestures performed by the dancers and their intimate connection to the music; in his <i>Notes on Oriental, Greek and Indian Cultures,</i><sup id="cite_ref-:3_12-0" class="reference"><a href="#cite_note-:3-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> we find a curiosity as to what the French theatre scene could become if it pulled from traditions such as <a href="/wiki/Noh" title="Noh">Noh</a> and <a href="/wiki/Balinese_dance" title="Balinese dance">Balinese dance</a>. </p><p>Similarly, it is in his essay on Chinese acting that <a href="/wiki/Bertolt_Brecht" title="Bertolt Brecht">Brecht</a> used the term <a href="/wiki/Distancing_effect" title="Distancing effect">Verfremdungseffekt</a> for the first time.<sup id="cite_ref-:4_13-0" class="reference"><a href="#cite_note-:4-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> Brecht's essay, written shortly after having witnessed performer <a href="/wiki/Mei_Lanfang" title="Mei Lanfang">Mei Langfang</a>'s demonstration of a few Peking Opera performance practices in 1935 Moscow, elaborates on his experience on his experience feeling "alienated"<sup id="cite_ref-:4_13-1" class="reference"><a href="#cite_note-:4-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> by Mei's performance: Brecht notably mentions the absence of a fourth wall in the demonstration, which later on became a staple in Brechtian theatre, and the "stylistic"<sup id="cite_ref-:4_13-2" class="reference"><a href="#cite_note-:4-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> nature of the performance; another key concept which would find its way into Brecht's later theories. In fact, three of Brecht's plays are set in China (<i>The Measures Taken</i>, <i>The Good Person of Szechwan</i>, and <i>Turandot</i>)<sup id="cite_ref-:5_14-0" class="reference"><a href="#cite_note-:5-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/W._B._Yeats" title="W. B. Yeats">Yeats</a>, pioneer of the modernist and symbolist movement, discovered Noh drama in 1916, as detailed in his essay <i>Certain Noble Plays of Japan</i>,<sup id="cite_ref-:2_1-2" class="reference"><a href="#cite_note-:2-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> which reveals a strong interest in the musicality and stillness of the Noh performance. His production of the same year, <i>At the Hawk's Well</i> was created by loosely following the rules of a Noh Play: Yeats' attempt at exploring Noh's spiritual power, its lyrical tone and its synthesis of dance, music and verse.<sup id="cite_ref-:2_1-3" class="reference"><a href="#cite_note-:2-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </p><p>Additionally, <a href="/wiki/Edward_Gordon_Craig" title="Edward Gordon Craig">Gordon Craig</a> repeatedly theorized about "the idea of danger in the Indian theatre",<sup id="cite_ref-:6_15-0" class="reference"><a href="#cite_note-:6-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> as a potential solution to the lack of risk-taking in the western theatre, and some might argue his theories about an über-marionette actor<sup id="cite_ref-:1_11-1" class="reference"><a href="#cite_note-:1-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> could be compared to the <a href="/wiki/Kathakali" title="Kathakali">kathakali</a> training. In 1956, Grotowski too found himself an interest for Eastern performance practices, and experimented with using some aspects of Kathakali in his actor training program. He had studied the South-Indian tradition in Kerala, at the Kalamandalam.<sup id="cite_ref-:6_15-1" class="reference"><a href="#cite_note-:6-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p><p>In many cases, these practitioners' pulling of theatrical conventions from the East came from their desire to explore unexpected or novel approaches to theatre-making.<sup id="cite_ref-:7_16-0" class="reference"><a href="#cite_note-:7-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> Audiences at the time were not often exposed to Eastern theatre practices, and the latter were hence a powerful tool for modernists: Brecht could easily generate the alienation of his western audiences by presenting them with these supposedly "strange"<sup id="cite_ref-:4_13-3" class="reference"><a href="#cite_note-:4-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> and "foreign"<sup id="cite_ref-:5_14-1" class="reference"><a href="#cite_note-:5-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> theatrical conventions they were simply not familiar with. Artaud and Yeats could experiment with the musicality and ritualistic nature of Eastern dance traditions as a means to reconnect the western theatre to the mystical and to the universe;<sup id="cite_ref-:7_16-1" class="reference"><a href="#cite_note-:7-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> and both Grotowski and Craig could draw from the kathakali performers' training as a means to challenge the western theatre's sole focus on <a href="/wiki/Konstantin_Stanislavski" title="Konstantin Stanislavski">psychological truth</a> and truthful behavior.<sup id="cite_ref-:2_1-4" class="reference"><a href="#cite_note-:2-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </p><p>However, their exposure to these theatre traditions was extremely limited: these theatre-makers's understandings of the Eastern traditions they were pulling from were often limited to a few readings,<sup id="cite_ref-:4_13-4" class="reference"><a href="#cite_note-:4-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> translations of Chinese and Japanese works,<sup id="cite_ref-:2_1-5" class="reference"><a href="#cite_note-:2-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> and, in the case of Brecht and Artaud, the witnessing of an out-of-context demonstration of Balinese Theatre Dance and Peking Opera conventions. Remaining geographically distant,<sup id="cite_ref-:6_15-2" class="reference"><a href="#cite_note-:6-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> for the most part, of the traditions they wrote about, the "oriental theatre"<sup id="cite_ref-:3_12-1" class="reference"><a href="#cite_note-:3-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> could hence be argued to be more of a construct than a true practice for these theatre-makers. While they do pull from Eastern traditions, Brecht, Artaud, Yeats, Craig and Artaud's respective articulations of their vision for theatre predate their exposure to these practices:<sup id="cite_ref-:4_13-5" class="reference"><a href="#cite_note-:4-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> their approach to Eastern theatre traditions were filtered "through a personal agenda",<sup id="cite_ref-:1_11-2" class="reference"><a href="#cite_note-:1-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> and the absence of earnest curiosity for the oriental theatre could be argued to have led to its misinterpretation and distortion in the modernist movement.<sup id="cite_ref-:4_13-6" class="reference"><a href="#cite_note-:4-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p><p>Furthermore, Eastern theatre was repeatedly reduced by these western practitioners to an exotic, mystical form.<sup id="cite_ref-:6_15-3" class="reference"><a href="#cite_note-:6-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> It is important here to acknowledge the importance of cultural context<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> in theatre-making: these practitioners' isolating of a particular ritual or convention from its broader cultural significance and social context shows perhaps that this "questionable exoticization"<sup id="cite_ref-:5_14-2" class="reference"><a href="#cite_note-:5-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> was customarily used to push their own preconceived notions about the theatre, rather than to explore the culture they were borrowing from. </p> <div class="mw-heading mw-heading2"><h2 id="Physical_effects">Physical effects</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Experimental_theatre&action=edit&section=5" title="Edit section: Physical effects"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Experimental theatre alters traditional conventions of space (<a href="/wiki/Black_box_theater" title="Black box theater">black box theater</a>), theme, movement, mood, tension, language, symbolism, conventional rules and other elements. </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Experimental_theatre&action=edit&section=6" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Performance_art" title="Performance art">Performance art</a></li> <li><a href="/wiki/Physical_theatre" title="Physical theatre">Physical theatre</a></li> <li><a href="/wiki/Improvisational_theatre" title="Improvisational theatre">Improvisational theatre</a></li> <li><a href="/wiki/Postdramatic_theatre" title="Postdramatic theatre">Postdramatic theatre</a></li> <li><a href="/wiki/Experimental_theatre_in_the_Arab_world" title="Experimental theatre in the Arab world">Experimental theatre in the Arab world</a></li> <li><a href="/wiki/Fringe_theatre" title="Fringe theatre">Fringe theatre</a></li> <li><a href="/wiki/Music_theatre" title="Music theatre">Music theatre</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Experimental_theatre&action=edit&section=7" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-:2-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-:2_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:2_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:2_1-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-:2_1-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-:2_1-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-:2_1-5"><sup><i><b>f</b></i></sup></a></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFStyan1983" class="citation book cs1">Styan, J. L. (1983). <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/16572670"><i>Modern drama in theory and practice</i></a>. Cambridge: Cambridge University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-521-29628-5" title="Special:BookSources/0-521-29628-5"><bdi>0-521-29628-5</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/16572670">16572670</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Modern+drama+in+theory+and+practice&rft.place=Cambridge&rft.pub=Cambridge+University+Press&rft.date=1983&rft_id=info%3Aoclcnum%2F16572670&rft.isbn=0-521-29628-5&rft.aulast=Styan&rft.aufirst=J.+L.&rft_id=https%3A%2F%2Fwww.worldcat.org%2Foclc%2F16572670&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Erika Fischer-Lichte "Einleitung Wahrnehmung-Körper-Sprache" in: Erika Fischer-Lichte et al.: <i>TheaterAvantgarde</i>, Tübingen 1995, pp. 1–15</span> </li> <li id="cite_note-Brook-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-Brook_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Brook_3-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBook1968" class="citation book cs1"><a href="/wiki/Peter_Brook" title="Peter Brook">Book, Peter</a> (1968). <i>The Empty Space</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Empty+Space&rft.date=1968&rft.aulast=Book&rft.aufirst=Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> <li id="cite_note-Bermel-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-Bermel_4-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBermel2001" class="citation book cs1"><a href="/w/index.php?title=Albert_Bermel&action=edit&redlink=1" class="new" title="Albert Bermel (page does not exist)">Bermel, Albert</a> (2001). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=1YwMAAAACAAJ&q=artaud%27s+theatre+of+cruelty"><i>Artaud's Theatre of Cruelty</i></a>. Methuen. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-413-76660-8" title="Special:BookSources/0-413-76660-8"><bdi>0-413-76660-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Artaud%27s+Theatre+of+Cruelty&rft.pub=Methuen&rft.date=2001&rft.isbn=0-413-76660-8&rft.aulast=Bermel&rft.aufirst=Albert&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D1YwMAAAACAAJ%26q%3Dartaud%2527s%2Btheatre%2Bof%2Bcruelty&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> <li id="cite_note-Traditional-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-Traditional_5-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFNicolescuWilliams1997" class="citation journal cs1"><a href="/wiki/Basarab_Nicolescu" title="Basarab Nicolescu">Nicolescu, Basarab</a>; Williams, David (1997). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190923103228/http://www.experimentaltheatre.org/peter_brook.htm">"Peter Brook and Traditional Thought"</a>. <i>Contemporary Theatre Review</i>. <b>7</b>. Overseas Publishers Association: 11–23. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F10486809708568441">10.1080/10486809708568441</a>. Archived from <a rel="nofollow" class="external text" href="http://www.experimentaltheatre.org/peter_brook.htm">the original</a> on 2019-09-23<span class="reference-accessdate">. Retrieved <span class="nowrap">2008-12-25</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Contemporary+Theatre+Review&rft.atitle=Peter+Brook+and+Traditional+Thought&rft.volume=7&rft.pages=11-23&rft.date=1997&rft_id=info%3Adoi%2F10.1080%2F10486809708568441&rft.aulast=Nicolescu&rft.aufirst=Basarab&rft.au=Williams%2C+David&rft_id=http%3A%2F%2Fwww.experimentaltheatre.org%2Fpeter_brook.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> <li id="cite_note-Welfare-6"><span class="mw-cite-backlink">^ <a href="#cite_ref-Welfare_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Welfare_6-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTony_Coult1983" class="citation book cs1">Tony Coult, ed. (1983). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=oPkCAAAAMAAJ&q=engineers+of+the+imagination"><i>Engineers of the Imagination: The Welfare State Handbook</i></a>. Baz Kershaw. Methuen. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-413-52800-6" title="Special:BookSources/0-413-52800-6"><bdi>0-413-52800-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Engineers+of+the+Imagination%3A+The+Welfare+State+Handbook&rft.pub=Methuen&rft.date=1983&rft.isbn=0-413-52800-6&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DoPkCAAAAMAAJ%26q%3Dengineers%2Bof%2Bthe%2Bimagination&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> <li id="cite_note-Callery-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-Callery_7-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCallery2001" class="citation book cs1"><a href="/w/index.php?title=Dympha_Callery&action=edit&redlink=1" class="new" title="Dympha Callery (page does not exist)">Callery, Dympha</a> (2001). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=mbEa2gowoFQC"><i>Through the Body: A Practical Guide to Physical Theatre</i></a>. Nick Hern Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-85459-630-6" title="Special:BookSources/1-85459-630-6"><bdi>1-85459-630-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Through+the+Body%3A+A+Practical+Guide+to+Physical+Theatre&rft.pub=Nick+Hern+Books&rft.date=2001&rft.isbn=1-85459-630-6&rft.aulast=Callery&rft.aufirst=Dympha&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DmbEa2gowoFQC&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> <li id="cite_note-:0-8"><span class="mw-cite-backlink">^ <a href="#cite_ref-:0_8-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:0_8-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFord2010" class="citation book cs1">Ford, Katherine (2010). <i>Politics and Violence in Cuban and Argentine Theater</i>. New York: Palgrave Macmillan. pp. xvi. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781349377688" title="Special:BookSources/9781349377688"><bdi>9781349377688</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Politics+and+Violence+in+Cuban+and+Argentine+Theater&rft.place=New+York&rft.pages=xvi&rft.pub=Palgrave+Macmillan&rft.date=2010&rft.isbn=9781349377688&rft.aulast=Ford&rft.aufirst=Katherine&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMartin2013" class="citation book cs1">Martin, Carol (2013). <i>Theatre of the Real</i>. London: Palgrave Macmillan. p. 30. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780230281912" title="Special:BookSources/9780230281912"><bdi>9780230281912</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Theatre+of+the+Real&rft.place=London&rft.pages=30&rft.pub=Palgrave+Macmillan&rft.date=2013&rft.isbn=9780230281912&rft.aulast=Martin&rft.aufirst=Carol&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFJennings2009" class="citation book cs1">Jennings, Sue (2009). <i>Dramatherapy and Social Theatre: Necessary Dialogues</i>. New York: Routledge. p. 72. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780415422062" title="Special:BookSources/9780415422062"><bdi>9780415422062</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Dramatherapy+and+Social+Theatre%3A+Necessary+Dialogues&rft.place=New+York&rft.pages=72&rft.pub=Routledge&rft.date=2009&rft.isbn=9780415422062&rft.aulast=Jennings&rft.aufirst=Sue&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> <li id="cite_note-:1-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-:1_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:1_11-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:1_11-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://asia.si.edu/essays/article-gillitt/">"A Legacy of Theatricality: Antonin Artaud's Encounter with Balinese Gamelan"</a>. <i>Freer Gallery of Art & Arthur M. Sackler Gallery</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2021-12-18</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Freer+Gallery+of+Art+%26+Arthur+M.+Sackler+Gallery&rft.atitle=A+Legacy+of+Theatricality%3A+Antonin+Artaud%27s+Encounter+with+Balinese+Gamelan&rft_id=https%3A%2F%2Fasia.si.edu%2Fessays%2Farticle-gillitt%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> <li id="cite_note-:3-12"><span class="mw-cite-backlink">^ <a href="#cite_ref-:3_12-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:3_12-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFArtaud1974" class="citation book cs1">Artaud, Antonin (1974). <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/1638151"><i>The death of Satan, and other mystical writings</i></a>. London: Calder and Boyars. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7145-1085-8" title="Special:BookSources/0-7145-1085-8"><bdi>0-7145-1085-8</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/1638151">1638151</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+death+of+Satan%2C+and+other+mystical+writings&rft.place=London&rft.pub=Calder+and+Boyars&rft.date=1974&rft_id=info%3Aoclcnum%2F1638151&rft.isbn=0-7145-1085-8&rft.aulast=Artaud&rft.aufirst=Antonin&rft_id=https%3A%2F%2Fwww.worldcat.org%2Foclc%2F1638151&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> <li id="cite_note-:4-13"><span class="mw-cite-backlink">^ <a href="#cite_ref-:4_13-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:4_13-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:4_13-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-:4_13-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-:4_13-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-:4_13-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-:4_13-6"><sup><i><b>g</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTian1997" class="citation journal cs1">Tian, Min (1997). <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/1124277">"<span class="cs1-kern-left"></span>"Alienation-Effect" for Whom? Brecht's (Mis)interpretation of the Classical Chinese Theatre"</a>. <i>Asian Theatre Journal</i>. <b>14</b> (2): 200–222. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F1124277">10.2307/1124277</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0742-5457">0742-5457</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/1124277">1124277</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Asian+Theatre+Journal&rft.atitle=%22Alienation-Effect%22+for+Whom%3F+Brecht%27s+%28Mis%29interpretation+of+the+Classical+Chinese+Theatre&rft.volume=14&rft.issue=2&rft.pages=200-222&rft.date=1997&rft.issn=0742-5457&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F1124277%23id-name%3DJSTOR&rft_id=info%3Adoi%2F10.2307%2F1124277&rft.aulast=Tian&rft.aufirst=Min&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F1124277&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> <li id="cite_note-:5-14"><span class="mw-cite-backlink">^ <a href="#cite_ref-:5_14-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:5_14-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:5_14-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSeigneurie2020" class="citation book cs1">Seigneurie, Ken, ed. (2020-01-03). <a rel="nofollow" class="external text" href="https://onlinelibrary.wiley.com/doi/book/10.1002/9781118635193"><i>A Companion to World Literature</i></a> (1 ed.). Wiley. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1002%2F9781118635193.ctwl0272">10.1002/9781118635193.ctwl0272</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-118-99318-7" title="Special:BookSources/978-1-118-99318-7"><bdi>978-1-118-99318-7</bdi></a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:213895073">213895073</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+Companion+to+World+Literature&rft.edition=1&rft.pub=Wiley&rft.date=2020-01-03&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A213895073%23id-name%3DS2CID&rft_id=info%3Adoi%2F10.1002%2F9781118635193.ctwl0272&rft.isbn=978-1-118-99318-7&rft_id=https%3A%2F%2Fonlinelibrary.wiley.com%2Fdoi%2Fbook%2F10.1002%2F9781118635193&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> <li id="cite_note-:6-15"><span class="mw-cite-backlink">^ <a href="#cite_ref-:6_15-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:6_15-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:6_15-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-:6_15-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBharucha1984" class="citation journal cs1">Bharucha, Rustom (1984). <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/1124363">"A Collision of Cultures: Some Western Interpretations of the Indian Theatre"</a>. <i>Asian Theatre Journal</i>. <b>1</b> (1): 1–20. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F1124363">10.2307/1124363</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0742-5457">0742-5457</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/1124363">1124363</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Asian+Theatre+Journal&rft.atitle=A+Collision+of+Cultures%3A+Some+Western+Interpretations+of+the+Indian+Theatre&rft.volume=1&rft.issue=1&rft.pages=1-20&rft.date=1984&rft.issn=0742-5457&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F1124363%23id-name%3DJSTOR&rft_id=info%3Adoi%2F10.2307%2F1124363&rft.aulast=Bharucha&rft.aufirst=Rustom&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F1124363&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> <li id="cite_note-:7-16"><span class="mw-cite-backlink">^ <a href="#cite_ref-:7_16-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:7_16-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFArtaud,_Antonin2013" class="citation book cs1">Artaud, Antonin (2013). <a rel="nofollow" class="external text" href="http://worldcat.org/oclc/901046777"><i>The theatre and its double</i></a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84749-332-3" title="Special:BookSources/978-1-84749-332-3"><bdi>978-1-84749-332-3</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/901046777">901046777</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+theatre+and+its+double&rft.date=2013&rft_id=info%3Aoclcnum%2F901046777&rft.isbn=978-1-84749-332-3&rft.au=Artaud%2C+Antonin&rft_id=http%3A%2F%2Fworldcat.org%2Foclc%2F901046777&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGibsonBrook1973" class="citation journal cs1">Gibson, Michael; Brook, Peter (1973). <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/1144842">"Brook's Africa"</a>. <i>The Drama Review</i>. <b>17</b> (3): 37–51. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F1144842">10.2307/1144842</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0012-5962">0012-5962</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/1144842">1144842</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Drama+Review&rft.atitle=Brook%27s+Africa&rft.volume=17&rft.issue=3&rft.pages=37-51&rft.date=1973&rft.issn=0012-5962&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F1144842%23id-name%3DJSTOR&rft_id=info%3Adoi%2F10.2307%2F1144842&rft.aulast=Gibson&rft.aufirst=Michael&rft.au=Brook%2C+Peter&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F1144842&rfr_id=info%3Asid%2Fen.wikipedia.org%3AExperimental+theatre" class="Z3988"></span></span> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Experimental_theatre&action=edit&section=8" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}</style><div class="side-box side-box-right plainlinks sistersitebox"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0b/Wikiversity_logo_2017.svg/40px-Wikiversity_logo_2017.svg.png" decoding="async" width="40" height="33" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/0b/Wikiversity_logo_2017.svg/60px-Wikiversity_logo_2017.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/0b/Wikiversity_logo_2017.svg/80px-Wikiversity_logo_2017.svg.png 2x" data-file-width="626" data-file-height="512" /></span></span></div> <div class="side-box-text plainlist">Wikiversity has learning resources about <i><b><a href="https://en.wikiversity.org/wiki/Performance_art" class="extiw" title="v:Performance art">Performance art</a></b></i></div></div> </div> <ul><li>Arnold Aronson: <i>American Avant-Garde Theatre: A History (Theatre Production Studies)</i>. Routledge, 2000, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-415-24139-1" title="Special:BookSources/0-415-24139-1">0-415-24139-1</a></li> <li>Günter Berghaus: <i>Theatre, Performance and the Historical Avant-Garde</i>. Palgrave Macmillan US, 2005, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4039-6955-2" title="Special:BookSources/978-1-4039-6955-2">978-1-4039-6955-2</a></li> <li>Squiers, Anthony. <a rel="nofollow" class="external text" href="http://www.brill.com/products/book/introduction-social-and-political-philosophy-bertolt-brecht">An Introduction to the Social and Political Philosophy of Bertolt Brecht: Revolution and Aesthetics</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20171219005546/http://www.brill.com/products/book/introduction-social-and-political-philosophy-bertolt-brecht">Archived</a> 2017-12-19 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>. 2014. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9789042038998" title="Special:BookSources/9789042038998">9789042038998</a></li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output 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