Alfred Jarry Allan Kaprow Antonin Artaud Charles Babbage Dianetics dripping Dziga Vertov Europe extramusical sound Félix Guattari Ferruccio Busoni film Fluxus futurists George Brecht George Maciunas Hermann Helmholtz immersion Jackson Pollock John Cage literature Luigi Russolo Michael McClure music noise percussion phonography radio Sergei Eisenstein silence speech The Art of Noises theatre United States visible sound visual arts voice Walter Benjamin water sound William Burroughs Yoko Ono

Alan Sinfield Alfred Jarry Andre Breton Anton Chekhov Antonin Artaud Arthur Symons August Strindberg avant-garde Bertolt Brecht Caryl Churchill Christopher St. John Cicely Hamilton criticism Emile Zola Enrico Prampolini Ernst Toller Eugenio Barba Ewan McColl Federico García Lorca Filippo Tommaso Marinetti Forced Entertainment Guillaume Apollinaire Guillermo Gómez-Peña Hallie Flanagan Hans-Thies Lehmann Helen Gilbert Henrik Ibsen history Howard Barker ideology James Baldwin Jean Baudrillard Joanne Tompkins John McGrath László Moholy-Nagy Laurie Anderson Marie Bressard Marie Irene Fornés Mark Ravenhill Maurice Maeterlinck naturalism Nicholas Zurbrugg Oskar Kokoshka Pierre Quillard politics Raoul Hausmann Robert Lepage Roland Barthes Ronald Gow Sheila Stowell SuAndi Susan Carlson Terry Eagleton text theatre theory Tim Etchells Umberto Boccioni Walter Benjamin Walter Greenwood

absurd action Alfred Jarry angry young Antonin Artaud audience avant-garde Biedermann Brendan Behan conflict death defiance Diirrenmatt drama Edward Albee English Esslin Eugène Ionesco French Gelber German Harold Pinter Henry Bérenger iconoclasm illusion influence intellectual Jean Genet John Osborne Look Back in Anger Max Frisch Michel de Ghelderode N. F. Simpson paradox Pataphysics play playwrights plot protest Quare Fellow reality rebel Romulus Samuel Beckett satire society stage symbolism Tardieu theatre theatrical Tulane Drama Review Ubu Roi Waiting for Godot Wesker