COMPANY MANIFESTO/MISSION STATEMENT INDEX* Complicite....................................................................p.2 Creation Production Company................................................p.2 DV8...........................................................................p.2 Forced Entertainment........................................................p.3 The Goodman Theatre........................................................p.4 In-Yer-Face Theatre........................................................p.4 The Living Theatre...........................................................p.5 The National Theatre........................................................p.5 The National Theatre of Scotland..........................................p.6 New York City Ballet.........................................................p.7 Pants On Fire.................................................................p.8 The Public Theater...........................................................p.8 Push Productions..............................................................p.9 The TEAM ....................................................................p.9 Theatre of Cruelty (excerpts from Artaud's First M anifesto).............p.10 The Theatre Royal, Stratfo rd East... .... .... .... .... .... .... .... .... .... ..p. 13 Thirsty Turtle Productions...................................................p.14 Shakespeare and Company...................................................p.14 The Wooster Group..........................................................p.16 *Complied by Heidi O'Connell (heidi. ocon nell@gmail. com ) fo r educ ational ref eren ce purposes only. (Central School of Speech and Drama, M AATP200 9 Stage 2 Prac tice) Please note that while many of the following are in their entirety, some are merely excerpts from what each company chooses to share in their promotional material.

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COMPLICITE Complicite does not have a mission statement. However, its working principles have remained consistent: Seeking what is mos t alive, integr ating text, mus ic, image, and action to create surprising, disruptive theatre. There is no Complicite method. W hat is essential is collaborat ion. Complicite researches and trains through exploratory workshops. Complicite is more than a theatre company: it is a state of mind. When each collaborative adventure into the unknown starts off, anythi ng is possible. The result is an astonishingly broad and continually evolving spectrum of work.

CREATION PRODUCTION COMPANY The company’s purpose is to generate innovative forms of theatre through experiments with language, new music theatre, and explorations of political issues, seamlessly integrating the visual arts, music, dance, technol ogy, and architect ure.

DV8 Artistic Policy DV8 Physi cal Theatre's wor k is about t aki ng ri sks, aesthetically and physically, about breaking down the barriers between dance, theatre and personal politics and, above all, communicating ideas and feelings clearly and unpretentiously. It is determined to be radical yet accessible, and to take its work to as wide an audience as possible. DV8 is mot ivated by art isti c inspir at ion and creat ive need: t hese, rather than financial, organizational and touring demands dictate the creation of new works. Great emphasis is placed on the process by which new work is created. T he company has fought successfully for funding to cover lengthy research and development periods in order to maintain rigorous artistic integrity and quality in each new project. For every one of its works since 1987, DV8 has commissioned set designers and living composers to help investigate the relationship between body, architecture 2

and music. The focus of the creative approach is on reinvesting dance with meaning, particularly where this has been lost through formalized techniques. DV8's work i nherently questi ons t he tradi ti onal aest het ics and forms which pervade both modern and classical dance, and attempts to push beyond the values they reflect to enable discussion of wider and more complex issues. DV8 (D ance and Video 8)'s st rong commit ment to fi lm and vi deo continues. This reflects its ongoing interest in how two primarily visual media can enhance one another and reach a crossover audience from within both forms. The company's reputation relies on pushing its own boundaries and on the constant re-examination of the roles and relationships of men and women in our society. Its policy insists on the importance of challenging our preconceptions of what dance can, and should, address.

FORCED ENTERTAINMENT Artistic Policy We make art that explores the highs, l ows and complexi ti es of contempor ary li fe. Our aim is to make vital interventions in the form of culture, reflecting on the world that surrounds us, asking necessary questions, engaging broad and diverse communities in compelling and provocative ways. Our work spans theatre and performance through digital media, v i deo inst allation and publication. It i s or igi nal,contemporary wor k that develops new for ms and old to find the most effective articulation of its ideas. The work is shown in a variety of contexts, appropriate to the individual projects, ranging from theatres to public sites and art galleries. We are committed to a collective practice, to building and maintaining a group that shares a history, skills and an equal involvement in the creative process.Alongside this we involve collaborators from diverse disciplines that introduces fresh approaches and ideas, invigorati ng our practi ce.

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THE GOODMAN THEATRE Goodman Theatre, C hicago’s oldest and largest not-for -pr ofit theater, has won international renown for the quality of productions, the depth and diversity of artistic leadership, and the excellence of its many community and educational programs. Under t he gui dance of Art istic Director Rober t Fall s and Executive Director Roche Schulfer, the Goodman is committed to producing both classic and contemporary works, giving full voice to a wide range of artists and visions. C entral to that mission is the Goodman Artistic Collective, a diverse group of outstanding theater artists whose distinctive visions have given the Goodman an artistic identity of uncommon richness and variety. B y dedicating it self to t hree guiding principles— quality, diversity, and community—Goodman Theatre seeks to be the premier cultural organization in Chicago, pr ovidi ng product ions and pr ograms that make an essential contribution to the quality of life in our city.

IN-YER-FACE THEATRE In-yer-face theatre is the kind of theatre which grabs the audience by the scruff of the neck and shakes it until it gets the message. The sanitized phrase 'in-yourface' is defined by the New Oxford English Dictionary (1998) as something 'blatantly aggressive or provocative, impossible to ignore or avoid'. The Colli ns English Dictionary (1998) adds the adjective 'confrontational'. 'In-your-face' originated in American sports journalism during the mid-1970s as an exclamation of derision or contempt, and gradually seeped into more mainst ream sl ang dur ing t he late 1980s and 1990s, meaning 'aggressive, p r ovocative, brash'. It implies being forced to see something close up, having your personal space invaded. It suggests the crossing of normal boundaries. In short, it describes perfectly the ki nd of theatre that puts audiences in just such a situation. In-yer-face theatre shocks audiences by the extremism of its language and images; unsettles them by its emotional frankness and disturbs them by its acute questioning of moral norms. It not only sums up the zeitgeist, but cr it icizes it as well. Most in-yer-face plays are not interested in showing events in a detached way and allowing audiences to speculate about them; instead, t hey are experi ent ial they want audiences to feel the extreme emotions that are being shown on stage. In-yer-face theatre is experiential theatre. 4

THE LIVING THEATRE To call into question who we are to each other in the social environment of the theater, to undo the knots that lead to misery, to spread ourselves across the public's table like platters at a banquet, to set ourselves in motion like a vortex that pulls the spectator into action, to fire the body's secret engines, to pass through the prism and come out a rainbow, to insist that what happens in the jails matters, to cry "Not i n my name!" at the hour of execution, to move from the theater to the street and from the street to the theater. This is what The Living Theatre does today. It is what it has always done.

THE NATIONAL THEATRE The National Theatre is central to the creative life of the country. In its three theatres on the South Bank in London, it presents an eclectic mix of new plays and classics, with seven or eight productions in repertory at any one time. It aims constantly to re-energise the great traditions of the British stage and to expand the horizons of audiences and artists alike. It aspires to reflect in its repertoire the diversity of the nation's culture. At i ts Studio, the Nat ional offer s a space for research and development for the NT's stages and the theatre as a whole. Through 5

the NT Education Department, tomorrow's audiences are addressed. Through an extensive programme of Platform performances, backstage tours, foyer music, exhibitions, and free outdoor entertainment it r ecognises that the t heatre doesn't begin and end with the rise and fall of the curtain. And by touring, the N ati onal shares its work with audiences in the UK and abroad.

THE NATIONAL THEATRE OF SCOTLAND Scottish theatre has always been for the people, l ed by gr eat performances, great stories or great playwrights. We now have the chance to bui ld a new gener ati on of theatre-goers as well as reinvigorating the existing ones; to create theatre on a national and international scale that is contemporary, confident and forwardlooking; to bring together brilliant artists, composers, choreographers and playwrights; and to exceed our expectation of what and where theatre can be. The National Theatre of Scotland has no building; there has been no great capital project involving architects and contractors. Instead, we are taking theatre all over Scotland, working with the existing venues, touring and creating work within the theatre community. We have no bricks-and- mortar institutionalism to counter, nor the security of a permanent home in which to develop. All our money and energy can be spent on creating the work. Our theatre will take place in the great buildings Edinburgh's Royal Lyceum and Glasgow's Citizens - but also in site-specifi c locations, community halls and sports halls, car parks and forests. As well as producing our own work, we wi ll collaborate wi th the best companies and individuals working here already. We will travel all over Scotland taking work to school and communities. A small ensemble of six actors will take up residence for a week at a time in the smallest venues and communities in Scotland, offering plays for adults, young adults and family theatre. At l ast we wil l be able to cr eate largescale work, music and spectacle, something that has disappeared due to lack of resources and time. There will be opportunities for our great playwrights to write big, important plays and to do new versions of those which have not been seen in Scotland for many years. Thi s will create parts for the great Scottish actors spread over the world and at home. W e will tour internationally and bring international work into Scotland. We have created a young company of recent graduates, act or s, directors, producers and t echni cians who will tour their own work, giving them the opportunity to develop professionally.

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We have spent many hours debating the notion of a " nati onal theatre" and the responsibility that entails. It is not,and should not be, a jingoistic, pat riot ic stab at defining a nation's identity through theatre. In fact, it should not be an opportunity to try to define anything. Inst ead, it is the chance to throw open the doors of possibility, to encourage boldness. I hope our progr amme goes some way to realising these ambitions. I hope we will make Scotland proud. In summary • The National Theatre of Scot land has no buil ding but i nstead will tour work to venues large and small all around Scotland, fr om Shetland in t he nor th to D umfries and Galloway in the south. • We wi ll produce our own work and col laborat e wit h other companies and individual artists, creati ng lar ge-scal e pr oductions t hrough to theatre specifi cally made for the smallest venues. • We ar e working acr oss Scotl and, independently and wit h l ocal aut horiti es, to bring drama in all its forms to schools and communities. • A touring ensembl e of six actors wi ll bri ng plays for adults, young peopl e and families to small communities and venues. • The National Theatre of Scot land will t our work i nter nat ional ly and will work in collaboration with the best international companies. • We ar e working wit h playwrights, designers, dir ect or s, yout h t heat res and many other artists to help further develop the pool of talent in Scotland. • A young company of recently gr aduat ed actors, producers and di rectors is being created, mentored by the National Theatre of Scotland's artistic team, who will tour their own work nationally.

NEW YORK CITY BALLET George Balanchine and Lincoln Kirstein formed New York City Ballet with the goal of producing and performing a new ballet repertory that would reimagine the principles of classical dance. Under the leader ship of Bal let Master in Chief Peter Marti ns, the Company remains dedicated to their vision as it pursues two primary objectives: 7

1. t o preserve the bal lets, dance aesthetic, and standards of excellence cr eated and established by its founders; and 2. to develop new work t hat draws on t he creative talents of contemporary choreographers and composers, and speaks to the time in which it is made. This mission is accompanied by a commitment to expand the Company's audience and make ballet accessible to the widest possible public through touring, educati on programs, the creative use of media, and other outreach efforts.

PANTS ON FIRE Pants on Fire is dedicated to creating new, exci ti ng, high qual ity Theatre. We are committed to crafting original, dramati cally dynamic, visuall y bril liant and wi dely accessible work. Our creation process is ensemble driven. We base our sensi ti vi ti es i n play, style and the language of theatre – all anchor ed to t he poeti c search for tr ut h. The company’ s mission is to explore new theatrical possibilities and push the form beyond its boundaries. We aim to create uniquely theatrical worlds, which rely on the imagination of the spectator and form a synergy between performer and audience. While these worlds may serve to hold up a mirror to our own, they do not always pretend to be ‘real’, but delight in their own palpable theatricality. Our work is driven by a passion for life and making theatre that celebrates this passion.

THE PUBLIC THEATER As the nation's foremost theatrical producer of Shakespeare and new work, T he Public Theater is dedicated to achieving artistic excellence while developing an American theater that is accessible and relevant to all people through productions of challenging new plays, musicals and innovative stagings of the classics. Toward this effort, The Public continues to be guided by a philosophy of inclusion, which takes on many forms—non-traditional casting of productions, education and development initiatives for artists from diverse backgrounds, outreach to students and audiences throughout New York City's five boroughs, humanities endeavors that provide a social and cultural context for the works we present, and mainstage productions that reflect and speak to the issues and interests of our surrounding community. Ticket prices for performances are kept low or free of charge in order 8

to attract a broad audience, and every performance space is handicap accessible, with free sign language-interpreted and open- captioned performances offered during summer productions. The Public's programming also cultivates connections among its many constituencies—between artists and audiences and across ethnicities, ages and experiences. These connections are fundamental to the work of the institution as well as to the development of future artists and audiences, and thus the health of the theater community as a whole.

PUSH PRODUCTIONS Push Productions, Inc., i s a not-for-profit t heat rical pr oduct ion company founded in 1999. Push is committed to creating ensemble theatrical presentations that promote social awareness. The company achieves i ts mission by pr esenting pl ays that reveal characters whose choices affect a vast range of society. Within these choices, the productions demonstrate that each character is responsible for everyday society.

THE TEAM The TEAM is the Theatre of the Emerging American Moment. We are a New York City-based theatre company dedicated to dissecting and celebrating the experience of living in America today. We devise plays by examining a wealth of material, and then combi ning t hat research with original writing and staging. The work combines aggressive athleticism with delicate examinations of the social and political factors shaping our world today, keeping the brain, eyes, and heart of the audience constantly stimulated. At times a rock concert, at times a sport ing event, the TEAM has been described as avant-garde meets MTV. Ours is a theatre that does not deny its youth. Our productions are relentless out of necessity, multi-t asking between i ntellect ual commentaries and exuberant physicality; we know of no other way to behave.

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THEATRE OF CRUELTY (E xcerpts from Artaud's First Manifesto) ELEMENTS We do not mean to bore the audience to death with transcendental cosmic preoccupations. Audiences are not interested in whether there are profound clues to the show's thought and action, since in general this does not concern them. But these must still be there and that concerns us. The Show : E very show wi ll contain physical,objective element s per cepti ble t o all. Shouts, groans, appariti ons, surprise, dramat ic moment s of all ki nds, t he magic beauty of the costumes modeled on certain ritualistic patterns, brilliant lighting, vocal, incantational beauty, attractive harmonies, rare musical notes, object colors, the physical rhythm of the moves familiar to all, the tangible appearance of new, surprising objects, masks, puppets many feet high, abrupt lighting changes, the physical action of lighting stimulating heat and cold, and so on. Staging: This archetypal theatre language will be formed around staging not simply viewed as one degree of refraction of the script on stage, but as the start ing point for theatrical creation. The old duali ty between author and producer will disappear, to be replaced by a kind of single Creator using and handling this language, responsible both for the play and the action. Stage Language: We do not intend t o do away wit h dialogue, but t o give words something of the significance they have in dreams. Moreover we must find new ways of recording this language, whet her these ways ar e simi lar t o musical notat ion or to some kind of code. A s to or dinary objects, or even the human body, raised to t he dignity of signs, we can obviously take our inspirat ion from hieroglyphic characters not only to transcribe these signs legibly so that they can be reproduced at will, but to compose exact symbols on stage that are immediately legible. Then again, this coding and musical not ation wil l be valuable as a means of vocal transcription. Since the basis of this language is to initiate a special use of inflections, hese t must take up a kind of balanced harmony, a subsi diar y exaggerat ion of speech table to be produced at will. Similar ly the t housand-and-one faci al expr essions caught in the form of masks, can be listed and labeled so they may directly and symbolically participate in this tangible stage language, independent of their particular psychological use. Furt her more, these symboli c gestures, masks, post ures, indi vi dual 10

or group moves, whose countless meanings constitute an import ant part of t he tangible stage language of evocative gestures, emotive arbitrary postures, the wild pounding of rhythms and sound, will be multiplied, added to by a kind of mirroring of the gestures and postures, consisting of the accumulation of all the impulsive gestures, all the abor tive postures, al l the lapses in the mind and of the t ongue by which speech's incapability are revealed, and on occasion we will not fail to turn to this stupendous existing wealth of expression. Besides, there is a tangible idea of music where sound enters like a character, where harmonies are cut in two and become lost precisely as words break in. Connect ions, levels, ar e est ablished between one means of expression and another; even lighting can have a predetermined intellectual meaning. Musical Instruments: These wi ll be used as objects, as par t of the set. Moreover they need to act deeply and direct on our sensibility through the senses, and from the point of view of sound they invite research into utterly unusual sound properties and vibrations which present-day musical instruments do not possess, urging us to use ancient or forgotten instruments or to invent new ones. Apart from music, research is also needed into instruments and appliances based on refining and new alloys which can reach a new scale in the octave and produce an unbearably piercing sound or noise. Lights - Lighting: The lighting equipment currently in use in the theatre is no longer adequate. The particular action of light on the mind comes into play, we must discover oscillating light effects, new ways of diffusing lighting in waves, hseet lighting like a flight of fire-arrows. Fineness, density and opacity factors must be reintroduced into lighting, so as to produce special tonal properties, sensations of heat, cold, anger, f ear and so on. Costume : As to costume, wit hout believing there can be any uniform stage cost ume that would be the same for all plays, modern dress will be avoided as much as possible not because of a fetishistic superstition for the past, but because it is perfectly obvious certain age-old costumes of ritual intent, although they were once fashionable, retain a revealing beauty and appearance because of their closeness to the traditions that gave rise to them. The Stage and Auditorium : We int end to do away with these, replacing t hem by a kind of single, undi vi ded local e without part it ions of any kind and this wi ll become the very scene of the action. Direct contact will be established between the audience and the show, between actors and audience, f r om the very fact that t he 11

audience is seated in the center of the action, is encircled and furrowed by it. This encirclement comes from the shape of the house itself. Abandoning the architecture of present-day theaters, we will rent some kind of barn or hangar rebuilt along lines culminating in the architecture of some churches, holy places, or certain Tibetan temples. However, a central sit e wil l be r etai ned which, wi thout acting as a stage properly speaking, enables the body of the action to be concentrated and brought to a climax whenever necessary. Objects - Masks - Props: Puppets, huge masks, object s of str ange proport ions appear by the same right as verbal imagery, stressing the physical aspect of all imagery and expression -- with the corollary that all are requiring a stereotyped physical representation will be discarded or disguised. Decor: No decor. Hieroglyphic characters, costume, tan meter high effigies of King Lear's beard in the storm, musical instruments as tall as men, objects of unknown form and purpose are enough to fulfill this function. Topicality: B ut you may say, t heat re is so removed from li fe, fact s or present-day activities ... news and events, yes! Anxieties, whatever is profound about them, the prerogative of the few, no! In the Zohar , the story of Rabbi Simeon is as inflammatory as fire, as topical as fire. Works: We will not act wr it ten plays but wi ll att empt t o st age productions str aight from subjects, fact s or known wor ks. The type and l ayout of the auditorium i tsel f governs the show as no theme, however vast, is precluded to us. Show: We must revive t he concept of an integral show. The pr oblem is to express it, spatially nourish and furnish it like tap-holes drilled into a flat wall of rock, suddenly generating geysers and bouquets of stone. The Actor : The act or i s bot h a pr ime factor, since the show's success depends on the effectiveness of his acting, as well as a ki nd of neutral ,pliant fact or since he i s rigorously denied any individual initiative. Besi des, this is a field wher e there are no exact rules. And there is a wide margin dividing a man fr om an instrument bet ween an actor required to give nothing more than a certain number of sobs and one who has to deliver a speech, using his own powers of persuasion. Interpretation: The show will be coded from st art to finish, like a language. Thus no moves will be wasted, al l obeying a rhythm, every charact er being typi fied t o the limit, each gesture, feature and costume to appear as so many shafts of light. 12

Cinema: Thr ough poet ry, theatre contr asts pictures of the unformulat ed with the crude visualization of what exists. Besides, from an action viewpoint, one cannot compare a cinema image, h owever poetic it may be, si nce it i s restr icted by the fi lm, with the theatre image which obeys all life's requirements. Cruelty: There can be no spect acle wi thout an element of cruelt y (read as t he basis of every show). In our present degenerative state, metaphysics must be made to enter the mind through the body. The Audience : Fi rst , this theatre must exist .

THE THEATRE ROYAL, STRATF ORD EAST The Company Mission Statement Theatre Royal Stratford East works to discover and develop new talent and new audiences. Key Aims Theatre Royal, St ratford East wil l: * pr oduce new work which draws fr om and reflects the talent, concerns and dreams of its local communities * attract audiences to the work from all sections of the local population and further afield * lead in the development of shows which reflect both specific ethnic identity and multiculturalism * pr esent work to the highest standards * broaden the Theatre Royal’s and its wor k’s current i nfluence to include Britain as a whole and abroad * open channel s to participation in theatr e * ent ert ain and educate by remai ning t rue to t he social and educational values of Theatre Workshop * run an or gani sati on and building that welcomes, works for and appreci ates both audiences and employees from all the Theatre’s communities and places equality of opportunity at its centre. 13

THIRSTY TURTLE PRODUCTIONS Thirsty Turtle Productions began as a way to take control of our own artistic paths. We utilize New York City’s creative potential to tell stories that straddle the line between fantasy and reality, fi nding tr uth in entertainment. Our process i s ongoing.

SHAKESPEARE AND COMPANY Mission Statement Founded in 1 978, Shakespeare & Company aspires to create a theat re of unprecedented excellence rooted in the classical ideals of inquiry, balance and harmony; a company that performs as t he Eli zabethans did -- in love with poet ry, physical prowess and the mysteries of the universe. Wit h a core of over 120 ar ti sts, the company performs Shakespeare, generating opportunities for collaboration between actors, directors and designers of all races, nationalities and backgrounds. Shakespeare & Company provides original, i n-depth, classical t raining and performance methods. Shakespeare & Company also develops and produces new plays of social and political significance. Shakespeare & Company's education programs inspire a new generation of students and scholars to discover the resonance of Shakespeare's truths in the everyday world, d emonst rating the influence that classical theatre can have within a community. Statement of Vision To create a theatre of unprecedented excellence rooted in the Elizabethan ideals of inquiry, balance, and harmony, performing as t he Eli zabethans did; i n love with poetry, physical prowess, and the mysteries of the universe. To establish a theatre company which, by its commitment to the creative impulse, i s a revolutionar y force in society, which connects the t ruths of the past t o the challenges and possi bilities of today, which finds its source in the performance of Shakespeare's plays, and reaches the widest possible audience through training and education as well as performance. A Statement of Values that Unite Us Under all Shakespeare's plays are three vital questions: * What does it mean t o be alive? * How should we act? * What must I do? 14

By making the performance and exploration of Shakespeare's plays the center of our lives, it follows as the night does the day that we must ask ourselves these questions in all our actions. The plays themselves demand that we take ourselves out into the social and political fields, making connections between the arts and humanities, arts and gover nment, art s and business, art s and educati on, arts and spirituality. Shakespeare & Company is made up of activities in the fol lowi ng areas: * Performance * Training * Education * Management * Academia/Resear ch * Development/E nt repreneurism * Ar chit ect ur e * Landscaping * Gardening

Shakespeare & Company is generated out of the cl assi cal principles pr esent in t he experience of performing and producing Shakespeare's plays. These classical principles are the foundation upon which all programs and activities are built. By classical, we mean: "the highest trut hs told in a univer sally accessible for m which have an impact that is healing for the individual and society." The ethic and aesthetic of the following commonly-held values and beliefs identify and unify this Company. These values and beliefs help to ali gn us wi th classical principles: We believe that the creative impulse is essential to the human soul, and that the Arts are the most realized expression of this impulse. We believe that the ultimate pursuit and practice of Art creates values that are compassionate and humane.

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The symbiosis of performance, t r aini ng, educati on, and management creates a clarity and deepening of experience critical to a healthy company and enhances the creative impulse. We believe that participating in the community where we live both enriches our lives and the quality of our work. We strive to be good neighbors. We value a society in which peoples of all races and ethnicity live with mutual respect, generosi ty, i nter est in, and commitment to the greater good of all . We continually strive to have this value reflected in the makeup of our Company. While working for an arts organization is a privilege and has its own rewards, w e believe that our employees should receive competitive wages and secure benefits. We believe in a mentoring model that both educates and transmits values, a nd that this model is essential to the health of this Company as well as society. We value open and honest communication and strive to implement it on every level, even when it is difficult or unpleasant. We value the exercise of wit and humor to leaven our interactions with ourselves and others. We believe in playfulness and grace in all our actions. We value the pursuit of excellence, and work to feel pride and pleasure in all of our endeavors.

THE WOOSTER GROUP For over thirty years, The Wooster Gr oup has cult ivated new for ms and t echniques of theatrical expression reflective of and responsive to our evolving culture, while sustaining a consistent ensemble and maintaining a flexible repertory. Wooster Group theatre pieces are constructed as assemblages of juxtaposed elements: radical staging of both modern and classic texts, found materials, films and videos, dance and movement, multi-track scoring, a nd an architectonic approach to theatre design. The Wooster Group has played a pivotal role in bringing technologically sophisticated and evocative uses of sound, film and video into the realm of 16

contemporary theatre, a nd in the process has infl uenced a generation of t heat re artists nationally and internationally. The Group's work is unique because it attracts not only the theatre-going community but also artists and enthusiasts of many other cultural disciplines, such as dance, painting, music, video and film.

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