Twentieth Century Performance Reader Book

	Preface
	Acknowledgements
	Twentieth-Century Performance: The Case for a New Approach	1
1	The Speed of Change	15
2	Actor, Space, Light, Painting	21
3	Theatre and Cruelty	25
4	Terpsichore in Sneakers: Post-Modern Dance	30
5	Words or Presence	36
6	The Grain of the Voice	44
7	Not How People Move but What Moves Them	53
8	Acting Exercises	61
9	What is Epic Theater?	64
10	Notes on the Invention of Tradition	72
11	The Theatre as Discourse	85
12	Short Description of a New Technique of Acting which Produces an Alienation Effect	99
13	The Deadly Theatre	112
14	Trisha Brown: an Interview	119
15	Four Statements on the Dance	129
16	The Actor and the Uber-Marionette	142
17	You have to Love Dancing to Stick to it	152
18	The Dancer of the Future	157
19	Some Remarks on the Situation of the Modern Composer	164
20	Notes on Einstein on the Beach	172
21	Performance Art from Futurism to the Present	182
22	Statement of Principles	187
23	Man, Once Dead, Crawl Back!	195
24	'Check List', from the Art of Making Dances	199
25	Of the Futility of the 'Theatrical' in Theater	209
26	The Theater of Death: a Manifesto	216
27	Interview	228
28	Robert Lepage in Discussion with Richard Eyre	237
29	The Founding and Manifesto of Futurism	248
30	Characteristics of the Modern Dance	255
31	First Attempts at a Stylized Theatre	264
32	19 Answers by Heiner Muller	276
33	Epic Satire	283
34	A Quasi Survey of Some 'Minimalist' Tendencies in the Quantitatively Minimal Dance Activity Midst the Plethora, or an Analysis of Trio A	290
35	How did Dada Begin?	300
36	The Five Avant Gardes or . . . or None?	308
37	Man and Art Figure	327
38	Theatre in African Traditional Cultures: Survival Patterns	341
39	Intonations and Pauses	357
40	The Philosophy of Modern Dance	364
41	Argument: Text and Performance	369
42	Interview	384
	A Chronology of Texts	399
	A Bibliography of Twentieth-Century Performance	401
	Index	406