Contents
Introduction
Pulling the Curtain on False Dichotomies: The Importance of the Theatrical Mainstream in the 1960s - James M. Harding and Cindy Rosenthal
I. Re-visioning Broadway
The Feminine Mystique Goes to Broadway: Housewives in 1960s Musical Theater - Stacy Wolf
The Long Shadow of A Raisin in the Sun - Harvey Young
Selling the Ensemble: Hair, Oh! Calcutta!, and Commercial Theater in the Late 1960s - Stephen Bottoms
II. Theater Artists’ Transformations and Innovations: Stagecraft, Playwriting, and Acting in the 1960s
Boris Aronson, the Jewish Avant-Garde, and the Transition to Broadway - Alisa Solomon
Paradigm for New Play Development: The Albee-Barr-Wilder Playwrights Unit - David A. Crespy
From Stanislavski to Grotowski: Rethinking 1960s Acting Training and Practice - Cindy Rosenthal
III. The European Effect: Cultural Gravitas in Popular Theater
Theater of the Sixties: The German Connection - Marvin Carlson
“The Best Contemporary Theatre Is International”: Plays in Translation on and off Broadway in the 1960s - Neil Blackadder
How France Canonized the American Avant-Garde - Kate Bredeson
IV. The Rise of Regional Theaters
Alphabet Soup: The Acronymization of the American Theater - Dorothy Chansky
Twin Cities Theater in the 1960s: Negotiating the Commercial/Experimental Divide - Susannah Engstrom
Making Art and Making Money: Arena Stage in the 1960s - Donatella Galella
V. Popular Demonstrations and Innovative Performances
The High Road, the Low Road, and the “Many Roads to Truth”: Richard Schechner, Peter Brook, and the Royal Shakespeare Company’s 1966 Production of US - James M. Harding
Sixties Secrets: The Beatles, Yoko Ono, and the Borders of Experiment in 1960s Rock Music Performance - Graham White
Mass Performance, outside and inside the Democratic National Convention, August 1968 - Kimberly Jannarone
Afterword
Looking Back at a Funhouse Mirror: Reflections on Experimental Theater in the Sixties - James M. Harding
Contributors
Index