avant-garde Bread and Puppet Theater Broadway Edward Portnoy futurism history Mark Sussman performance performance art Peter Schumann postmodernism puppetry Pyotr Bogatyrev Richard Schechner Salil Singh Stephen Kaplin Steve Tillli symbolism TDR theatre Theodora Skipitares

AIDS Bertolt Brecht body cabaret Cantonese opera circus critical race theory cyberspace dance Dwight Conquergood gender studies historiography history HIV Jazz Jill Dolan labour LGBT Molier Molière money opera Peggy Phelan performance analysis performance art play politics postcolonial studies psychoanalysis Richard Schechner ritual semiotics sexuality stand-up street theatre William Shakespeare

Andrei Serban Angels of Swedenborg avant-garde black experimental Great Jones Repertory Company history La Mama Medea New York New York times Off-Off-Broadway race Richard Schechner Sam Shepard Tadeuz Kantor theatre Tom O'Horgan USA women

acting actor Antonin Artaud archetype Arthur Miller audience Bertolt Brecht body capitalism choreography cultural theory culture dance Denise Collier difference experience Fredric Jameson gender identity ideology interpretation irony Jerzy Grotowski joke Kate Bornstein Konstantin Stanislavski language Meredith Monk minimalism modernism narrative ORLAN performance Peter Brook political art politics presence resistance Richard Schechner Rosanne Barr self stand-up subjectivity Susan Foster theatre Vito Acconci Willem Dafoe women Wooster Group

America audience Britain capitalism carnival civil society community democracy England ethics Europe feminism feminist theatre Fredric Jameson freedom globalisation history human rights identity ideology Jacques Derrida Judith Malina Living Theatre Lloyd Johnston Manchester memory Michel Foucault Minotaur performance performative politics postmodern performance Richard Schechner Robert Hewison socially engaged spectacle theatre Tiananmen Square tradition universal declaration of human rights Victor Turner Vietnam Welfare State International Wooster Group working class

academia accumulation Alan Read Andre Lepecki Andy Field Artaud audience autobiography Baz Kershaw Bonnie Marranca Brian Eugenio Herrera catastrophe Cherríe Moraga cinema Claudia La Rocco dialogue dramaturgy duration Emily Johnson endurance everyday failure Fintan Walsh Helen Paris Howard Barker immersive Jen Harvie Jennifer Parker-Starbuck Joe Kelleher John H Muse Joshua Abrams Ju Yon Kim Julia Jarcho liveness Matthew Goulish Nature Theater of Oklahoma Nicholas Ridout Peggy Phelan Petra Kuppers race Rajni Shah rehearsal Richard Schechner Romeo Castellucci technology theatre theatre space Tim Etchells walking writing

Bertolt Brecht experimental Georg Hegel Heiner Müller Lyotard Needcompany performance Richard Schechner Robert Wilson Roland Barthes Socìetas Raffaello Sanzio Szondi Tadeusz Kantor theatre Wooster Group

activism body Coco Fusco Guillermo Gómez-Peña José Esteban Muñoz political art politics Richard Schechner Slobodan Milošević war

Claire MacDonald essay Freddie Rokem Guillermo Gómez-Peña interviews Jane Goodall Jon McKenzie performance performance studies Philip Auslander Rebecca Schneider Richard Schechner Susan Melrose testimonies theatre theatre studies Tim Etchells writing

action alienation Allan Kaprow assemblage Black Mountain College Carolee Schneemann chance methods Claes Oldenburg Dick Higgins environment Fluxus George Brecht George Maciunas happenings human rights Jean-Jacques Lebel John Cage La Monte Young Marcel Duchamp Merce Cunningham performance art Richard Schechner Robert Morris Robert Whitman space time universal declaration of human rights Yvonne Rainer