Caryl Churchills penchant for innovation and experimentation has earned her a secure place among anyones list of most important contemporary dramatists
BOOTS: Now that is something. Some thing.
BOOTS: I tell you. I just saw something .
Integrating new, experimental work into the repertoire of established theaters is an ongoing problem, fueled in part by the fear that the loyal if slightly nebulous subscriber audience will be lost.
Mercedes Murphy, founder of the Williamsburg-based Théâtre Trouvé, appears to be of the same school as French director and theater philosopher Antonin Artaud: she seeks to create art that will jolt spectators out of complacency and numbness and into contact with what is essentially true, painful, and universal in the human experience.
- Same Difference: On Caryl Churchills A Number by David Kilpatrick
- Fractured Language: Ann Marie Healy by Jason Grote
- How to Build a Better Mousetrap: On Creating an Audience For New Work by Jeffrey M. Jones
- Shards of Beckett: Théâtre Trouvés Broken Window by Pamela Newton