259:. The primary connection between the works of Stein and Foreman, she proposes, is the writers' conception of consciousness in writing. Stein preferred "entity writing" over "identity writing." According to Stein's model, "entity writing" is "the 'thing-in-itself' detached from time and association, while identity is the 'thing-in-relation,' time-bound, clinging in association." "Entity writing" is free from any notion of remembering, relationships, or narratives, and it expresses what Stein called the "continuous present." Stein's method of writing is meditative practice that requires the writer's "deliberate detachment of oneself from the external world while documenting one's own consciousness in the act of writing." Therefore, this type of writing is said to reflect the workings of the writer's mind in its presentation. Stein adopted this theory of the "continuous present" to her work as a playwright. She abandoned the theatrical conventions of narrative structure in favor of a theatrical experience that focuses on the real-time consciousness—one in which "the spectator can move 'out' of the composition, or stop, at any moment without creating syncopated emotional time."
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picturization, Kirby means that
Foreman's staging is presented as "sequences of static pictures" in which the actors adjust themselves into tableaux as opposed to moving continuously throughout the play. Kirby also notes that Foreman makes use of written text that is projected on screens on the set. These projected words, Kirby describes, are both direct addresses to the spectator and "expository information". Kirby also writes about how Foreman literally controlled the pace and tempo of every performance of "Sophia." During the performance, Foreman would sit at a table in front of the stage, controlling the projections and sound cues. By acting as stage manager, Foreman was able to insert himself into he performance as it unfolded. Kirby also discusses the role of sound in Foreman's plays. He writes, "Noise, too, serves as both background and as an explicit part of the action." At times, recordings of lines take over for the actors' actual voice, creating a sense of alienation.
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the spectator has great difficulty projecting himself." Davy gives the example of
Foreman's characters often referring to themselves in the third person, which creates an alienating effect for the audience member who cannot project themself into the experience of the character. Through Foreman's alienating characterization, the audience is made to look at Foreman's actors as "self-enclosed units," or theatrical props, rather than characters. Therefore, Foreman's aesthetics demand that the spectator not escape into the play, but become conscious of their own process of interpretation. In Foreman's essay, "14 Things I Tell Myself," he elaborates, "Our art then = a learning how to look at 'A' and 'B' and see not them but a relation that cannot be 'seen.' You can't look at 'it' (that relation) because it
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Davy notes that like Stein, Foreman tends to avoid "'emotional traps' or the intentional manipulation of an audiences emotional responses by eliminating the 'lifelike' qualities of drama (clearly developing situation involving imaginary people in imaginary places), thereby creating a world into which
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at The Living
Theatre. Mekas' early cinematic work had a profound impact on Foreman. In The Lower East Side Biography Project documentary, Foreman states, "those really got to me. I thought this is the most poetic, beautiful, creative art that I've seen Americans producing." Foreman claims that, for
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Richard
Foreman moved to New York City directly after graduating from Yale School of Drama and worked as a manager of apartment complexes. Before finding his footing as a theater practitioner, Foreman became an avid patron of New York's downtown experimental theater and film scene. Foreman described
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as a child. The documentary also reveals that
Foreman was adopted — a fact he did not discover until he was in his 30s. The name given to him by his birth mother was Edward L. Friedman. Foreman’s birth mother was an orthodox Jew, and his birth father was Catholic “with artistic talent,” according to
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In 1993, OHT began their emerging artists program by initiating the
Blueprint Series for emerging directors. In 2005, OHT reorganized their emerging artists program under the name INCUBATOR, "creating a series of linked programs to provide young theater artists with resources and support to develop
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taking text to performance: "The writing tending towards a more receptive, open, passive receiving of 'what wants to be written' and the staging tending towards more active organization of the 'arrived' elements of the writing -- finding ways to make the writing inhabit a constructed environment."
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Foreman's theatrical experiences invoke Stein's theories in that they both abandon narrative, focusing on the here-and-now, and they seem to include
Foreman's "process of making the play" in the presentation of the play. In his essay, "How I Write My (Self: Plays)," Foreman explains his process of
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The
Ontological-Hysteric Theater prides itself on nurturing the talents of young and emerging theater practitioners. According to their website, "the OHT was a starting point for many artists making their mark in New York City and internationally including David Herskovitz, Artistic Director of
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to analyze
Foreman's theatrical vocabulary. Among his observations, Kirby notes that although "Sophia" is a play without a plot, it produces its own kind of structure of "thematic webs of visual and verbal ideas and references." Foreman achieves this visual structure through "picturization.' By
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process-oriented, original theatrical productions." The INCUBATOR programs include a residency program, two annual music festivals, a regular concert series, a serial work-in-progress program called Short Form, and roundtables and salons. The program received an OBIE grant in 2010.
288:(OHT) was founded by Foreman in 1968. The core of the company's annual programming has been Richard Foreman's theater pieces. Foreman mounted his first production with Ontological-Hysteric Theatre in 1968 at the Film-Maker's Cinematheque on Wooster Street, where he worked under the
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and
Richard Foreman's theatrical aesthetics. Foreman himself has spoken about the significance of her writings to his work. In 1969, Foreman declared, "Gertrude Stein obviously was doing all kinds of things we haven't event caught up to yet."
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In 2004, Foreman established The Bridge Project with Sophie Haviland to promote international art exchange between countries around the world through workshops, symposiums, theater productions, visual art, performance and multimedia events.
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information he received from the Jewish adoption agency, Louise Wise Services. Both his adopted parents were Jewish. Foreman says, "...my parents were very supportive, but nevertheless, I didn't feel that close to them in certain ways."
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doing the looking." Davy points out that "by eliminating internal punctuation in long complicated sentences," Stein's writing produces a similar effect for her readers who have to actively take part in discerning Stein's words.
227:, all of whom encouraged Foreman to start producing his own work. With Schechner, Foreman formed a theater collective in 1968 called "A Bunch of Experimental Theaters of New York Inc," which included seven theater companies:
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A 2018 documentary produced by the Lower East Side Biography Project outlined Foreman's early motivations for pursuing work in the theater. The documentary maintains that Foreman suffered from extreme
239:, The Ridiculous Theatrical Company, Section Ten, and Foreman's company, Ontological-Hysteric Theatre. From this point on, Foreman began producing works under the moniker "Ontological-Hysteric."
197:, and Florence Karpf for violating New York's obscenity laws. Foreman called Mekas, offering his help, and over the following years, Foreman and Mekas became close friends and collaborators.
129:, Brown University's student theatre group, while taking part in other student theater productions. In 1993, Brown presented him with an honorary doctorate. At Yale, Foreman studied under
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Foreman's work has been primarily produced by and performed at the Ontological-Hysteric Theater in New York, though he has gained acclaim as director for such productions as
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for Best Play of the Year, and received four other Obies for directing and for sustained achievement. Foreman has received the annual Literature Award from the
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In the PennSound autobiographical interview noted below, Foreman notes the error in this article that attributed to him a production he did not direct.
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Seven collections of his plays have been published, and books studying his work have been published in English, French, and German.
308:(1969), received almost no critical attention. By the mid 1970s, however, OHT gained traction with relatively popular works such as
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Foreman finally inserted himself into the avant-garde scene when police interrupted a screening and seized a copy of the 1963 film,
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Foreman has written, directed and designed over fifty of his own plays, both in New York City and abroad. He has received three
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picturization, speech, written material, control, movement and dances, sound, objects, relation to film, structure, content
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176:(the founders of The Living Theatre) or to Jonas Mekas, but fascinated by Mekas' work, Foreman and his wife,
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Richard Foreman was born in New York City, but spent many of his formative years in Scarsdale, New York. At
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1401:"Fales Collection Acquires Papers of Acclaimed Experimental Playwright and Director Richard Foreman"
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822:, Hartford, Connecticut (1997) (toured to Montreal, Paris, Rome, Los Angeles, and New York City)
212:, which consisted of converted SoHo lofts designed to be living and working spaces for artists.
102:(SHS), from which he graduated in 1955, Foreman was heavily involved in the theater department.
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Davy, Kate. “Richard Foreman's Ontological-Hysteric Theatre: The Influence of Gertrude Stein.”
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Through his connection to Jonas Mekas, Foreman became acquainted with architect and artist,
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In the PennSound interview cited above, Foreman corrects the information in Ellen Shaffer.
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at 80 Wooster Street. Foreman also became heavily involved in the development of Maciunas'
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18 April 1958: 4. Web. 2 December 2011. Foreman notes did no design work in college.
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In his 1973 essay, "Richard Foreman's Ontological-Hysteric Theatre," theater critic
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A number of scholars have called attention to the parallels between the theories of
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Target Margin Theater, Damon Keily Artistic Director of American Theater in Chicago
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aptly breaks down the aesthetics of OHT through the case study of Foreman's play
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Richard Foreman, 28 Minute Biography from The Lower East Side Biography Project
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Richard Foreman's Ontological-Hysteric Theatre: The Influence of Gertrude Stein
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style with extremely complex and theatrical themes. OHT's first productions,
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1191:(NEA) Distinguished Artist Fellowship for Lifetime Achievement in Theater
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in 1962. As a freshman, he starred as Willie Loman in Arthur Miller’s
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Common Tones: Selected Interviews with Artists and Musicians 1995-2020
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Common Tones: Selected Interviews with Artists and Musicians 1995-2020
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DEEP TRANCE BEHAVIOR IN POTATOLAND (A RICHARD FOREMAN THEATER MACHINE)
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on eight music theater pieces produced by The Music Theater Group and
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1871:"In Dialogue: Snap Crackle Pop: Dancing in Richard Foreman’s Brain"
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Collaborations and work outside of the Ontological-Hysteric Theatre
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Kirby, Michael. “Richard Foreman's Ontological-Hysteric Theatre.”
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Book of Splendors: Part Two (Book of Levers) Action at a Distance
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Kate Davy analyzes Stein's influence on Foreman in her article,
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Foreman's archives and work materials have been acquired by the
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840:, New York City (2000 (toured to Brussels, Berlin and Tokyo)
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During the 1960s, Foreman also got to know theater director
163:. Foreman also attended screenings of avant-garde filmmaker
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More Hysteria Please! A conversation with Josefina Ayerza
58:, a "Lifetime Achievement in the Theater" award from the
296:. Ontological-Hysteric Theatre balances a primitive and
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Love and Science: Selected Librettos by Richard Foreman
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David Geffen School of Drama at Yale University alumni
133:, the drama critic and former literary manager at The
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The Fales Library Guide to the Richard Foreman Papers
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In Their Own Words: Contemporary American Playwrights
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The Gods Are Pounding My Head! AKA Lumberjack Messiah
117:(B.A. 1959), and received an MFA in Playwriting from
858:, New York City (2003) (toured to Zurich and Vienna)
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Madness and Tranquility (My Head Was a Sledgehammer)
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a long time, he was too shy to introduce himself to
1613:, www.scarsdalealumni.org/richard_foreman_shs_1955.
1456:"Foreman (SHS 1955) - Scarsdale Alumni Association"
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1996 – Edwin Booth Award for Theatrical Achievement
1790:"Talk Talk: Richard Foreman puts language onstage"
1580:(New York: Theatre Communications Group, 1988), 39
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1196:American Academy and Institute of Arts and Letters
1081:Reverberation Machines: The Later Plays and Essays
880:WAKE UP MR. SLEEPY! YOUR UNCONSCIOUS MIND IS DEAD!
271:the looking itself. That's where he looking (you)
56:American Academy and Institute of Arts and Letters
1682:Richard Foreman, "How I Write My (Self: Plays),"
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1907:20th-century American dramatists and playwrights
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1887:New York Public Library for the Performing Arts
1568:, Johns Hopkins University Press, 1999, p. 240.
1427:"Guide to the Richard Foreman Papers 1942-2004"
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844:Now That Communism Is Dead, My Life Feels Empty
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1932:Officiers of the Ordre des Arts et des Lettres
1032:Radio Rick in Heaven and Radio Richard in Hell
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1547:"'Down to Earth' Offers Gaiety and Diversity"
556:at the Autumn Festivals in Berlin and Paris.
1695:Richard Foreman, "14 Things I Tell Myself,"
1201:1992 & 1995 – NEA Playwriting Fellowship
852:, New York City (2002) (toured to Singapore)
661:Pandering to the Masses: A Misrepresentation
70:, and in 2004 was elected an officer of the
1885:, held by the Billy Rose Theatre Division,
1431:The Fales Library & Special Collections
1093:Unbalancing Acts: Foundations for a Theater
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898:OLD-FASHIONED PROSTITUTES (A TRUE ROMANCE)
435:, the Festival d'Automne in Paris and the
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816:, New York City (1996) (toured to London)
613:, Lennox, Massachusetts (1971) (music by
423:Foreman's plays have been co-produced by
917:(1968) / New York City (1970) (music by
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611:Dream Tantras for Western Massachusetts
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874:ZOMBOID! (Film/Performance Project #1)
724:La Robe de Chambre de Georges Bataille
1866:- A Conversation with Richard Foreman
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1307:Speculations: An Essay on the Theater
1137:(New York: Contra Mundum Press, 2013)
1099:My Head Was a Sledgehammer: Six Plays
862:King Cowboy Rufus Rules the Universe!
326:Sophia = (Wisdom) Part 3: The Cliffs.
1733:"Theater: 'Golem,' At the Delacorte"
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688:Blvd. de Paris (I've Got the Shakes)
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328:Kirby uses the elements of setting,
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310:Sophia = (Wisdom) Part 3: The Cliffs
146:Early career and artistic influences
113:Richard Foreman went on to study at
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1528:Penny Arcade, and Steve Zehentner.
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1117:Richard Foreman (Art + Performance)
778:Eddie Goes to Poetry City: Part Two
772:Eddie Goes to Poetry City: Part One
627:Sophia= (Wisdom) Part 3: The Cliffs
223:, and theater director and scholar
66:Master American Dramatist Award, a
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1717:, vol. 17, no. 2, 1973, pp. 5–32.
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1374:"The Village Voice Obies Database"
1123:Bad Boy Nietzsche! and Other Plays
443:and stage director) with composer
151:feeling "overwhelmed" upon seeing
38:playwright and the founder of the
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1883:Richard Foreman papers, 1973-1987
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1504:Lower East Side Biography Project
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997:, New York City (2009) (music by
977:, New York City (1990) (music by
967:, New York City (1986) (music by
957:, New York City (1980) (music by
947:, New York City (1978) (music by
937:, New York City (1974) (music by
927:, New York City (1972) (music by
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546:and the RO theater in Rotterdam,
532:The New York Shakespeare Festival
477:The New York Shakespeare Festival
425:The New York Shakespeare Festival
1947:Writers from Scarsdale, New York
1217:Master American Playwright Award
553:Doctor Faustus Lights the Lights
369:, Sophie Haviland, Bob Cucuzza,
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1731:Gussow, Mel (August 17, 1984).
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1189:National Endowment for the Arts
995:ASTRONOME: A NIGHT AT THE OPERA
643:A Week under the Influence ...
439:. Foreman has collaborated (as
60:National Endowment for the Arts
1673:, www.jstor.org/stable/441069.
1635:Interview with Richard Foreman
1609:“Richard Foreman (SHS 1955).”
1598:Interview with Richard Foreman
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1111:Paradise Hotel and Other Plays
987:, Los Angeles (2006 (music by
676:Livre des Splendeurs: Part One
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341:Ontological-Hysteric Incubator
16:American dramatist (born 1937)
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23:Richard Foreman in March 2009
1952:Scarsdale High School alumni
1864:Don't Disappear Into A Dream
1667:Twentieth Century Literature
1611:Scarsdale Alumni Association
1291:Ontological-Hysteric Theater
1215:PEN/Laura Pels Theater Award
1050:Now You See It Now You Don't
286:Ontological-Hysteric Theater
280:Ontological-Hysteric Theater
40:Ontological-Hysteric Theater
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1484:writing.upenn.edu/pennsound
1356:"Richard Foreman Biography"
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1181:play development grant for
832:Paradise Hotel (Hotel Fuck)
742:Film Is Evil: Radio Is Good
517:at Hartford Stage Company,
507:and The Maggio Musicale in
243:Influence of Gertrude Stein
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1968:
1873:interview by Tommy Smith,
925:Dr. Selavy's Magic Theater
796:My Head Was a Sledgehammer
505:American Repertory Theater
501:Fall of the House of Usher
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1825:Foreman's EPC author page
1222:Order of Arts and Letters
1183:Eddie Goes to Poetry City
1105:No-body: A Novel in Parts
856:Panic! (How to Be Happy!)
544:Brooklyn Academy of Music
231:, The Manhattan Project,
206:Film-Maker's Cinematheque
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72:Order of Arts and Letters
1912:American opera directors
1686:21, no. 5 (Dec 1977), 6.
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730:Miss Universal Happiness
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94:Early life and education
1917:Brown University alumni
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790:Samuel's Major Problems
495:at the Opera de Lille,
449:The New York City Opera
355:Elevator Repair Service
233:Meredith Monk/The House
46:Achievements and awards
30:(born June 10, 1937 in
1699:No. 2 (Fall 1976), 87.
1220:2004 – Officer of the
1172:Rockefeller Foundation
1152:Foreman has won seven
1012:Out of the Body Travel
900:, New York City (2013)
894:, New York City (2009)
888:, New York City (2008)
882:, New York City (2007)
876:, New York City (2006)
870:, New York City (2005)
864:, New York City (2004)
828:, New York City (1997)
814:Permanent Brain Damage
810:, New York City (1995)
804:, New York City (1995)
798:, New York City (1994)
792:, New York City (1993)
786:, New York City (1992)
780:, New York City (1991)
768:, New York City (1989)
750:, New York City (1987)
744:, New York City (1987)
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732:, New York City (1985)
720:, New York City (1983)
708:, New York City (1981)
696:, New York City (1979)
690:, New York City (1977)
684:, New York City (1977)
672:, New York City (1975)
663:, New York City (1975)
657:, New York City (1974)
651:, New York City (1974)
635:, New York City (1973)
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623:, New York City (1972)
607:, New York City (1971)
597:, New York City (1970)
591:, New York City (1969)
585:, New York City (1968)
219:, filmmaker and actor
210:Fluxhouse Cooperatives
24:
1715:The Drama Review: TDR
1165:Guggenheim Fellowship
1129:Manifestos and Essays
1058:, feature film (2018)
1052:, feature film (2017)
1046:, feature film (2012)
1028:, feature film (1978)
237:The Performance Group
100:Scarsdale High School
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1251:Experimental theatre
1206:MacArthur Fellowship
1141:Plays for the Public
1069:Plays and Manifestos
965:Africanus Instructus
945:American Imagination
762:New York City (1988)
454:The Threepenny Opera
403:and the premiere of
396:The Threepenny Opera
119:Yale School of Drama
68:MacArthur Fellowship
1198:Award in Literature
1040:, video play (1990)
1020:, video play (1977)
1014:, video play (1975)
935:Hotel for Criminals
802:I've Got the Shakes
668:Rhoda in Potatoland
127:Production Workshop
123:Death of a Salesman
88:New York University
64:PEN American Center
1937:Postmodern theatre
1820:The Bridge Project
1766:on October 2, 2011
1760:"About The Bridge"
1738:The New York Times
1425:Foreman, Richard.
1354:Foreman, Richard.
1286:Elizabeth LeCompte
975:Love & Science
756:, Stockholm (1988)
373:, Ken Nintzle and
155:'s productions of
153:The Living Theatre
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1927:MacArthur Fellows
1876:The Brooklyn Rail
1684:The Drama review,
1399:Jester, Barbara.
1318:The Wooster Group
1301:Richard Schechner
1174:Playwrights Grant
1148:Awards and honors
1075:Theatre of Images
979:Stanley Silverman
969:Stanley Silverman
959:Stanley Silverman
949:Stanley Silverman
939:Stanley Silverman
929:Stanley Silverman
919:Stanley Silverman
838:Bad Boy Nietzsche
670:(Her Fall-Starts)
655:Vertical Mobility
639:Classical Therapy
615:Stanley Silverman
540:Birth of the Poet
445:Stanley Silverman
433:The Wooster Group
419:Stage productions
316:Critical Analysis
225:Richard Schechner
186:Flaming Creatures
34:) is an American
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1256:The Flea Theater
1241:Marina Abramović
1135:Plays with Films
774:, Seattle (1990)
760:What Did He See?
754:Love and Science
748:Symphony of Rats
473:Suzan-Lori Parks
405:Suzan-Lori Parks
115:Brown University
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1858:Video Data Bank
1854:Richard Foreman
1845:Richard Foreman
1838:Strong Medicine
1832:Lacanian Ink 12
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1565:Richard Foreman
1562:Gerald Rabkin,
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1380:on May 30, 2013
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1296:Performance art
1236:Patrick Kennedy
1231:
1179:Ford Foundation
1167:for Playwriting
1150:
1065:
1025:Strong Medicine
1008:
907:
850:Maria Del Bosco
820:Pearls for Pigs
706:Penguin Touquet
633:Particle Theory
579:
574:
565:
528:Guthrie Theater
437:Vienna Festival
429:La Mama Theatre
421:
387:
367:Richard Maxwell
343:
318:
294:George Maciunas
282:
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202:George Maciunas
148:
143:
96:
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28:Richard Foreman
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1805:
1804:External links
1802:
1799:
1798:
1794:The New Yorker
1788:(2009-11-16),
1777:
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1044:Once Every Day
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1006:Film and video
1004:
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989:Michael Gordon
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911:Elephant Steps
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726:, Paris (1983)
721:
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714:, Paris (1981)
709:
703:
700:Place + Target
697:
691:
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678:, Paris (1976)
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645:, Paris (1973)
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563:Bridge Project
561:
548:Gertrude Stein
482:Die Fledermaus
420:
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413:Public Theater
401:Lincoln Center
391:Bertolt Brecht
386:
383:
375:Young Jean Lee
342:
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249:Gertrude Stein
244:
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189:, and charged
157:The Connection
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1922:Living people
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784:The Mind King
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469:Botho Strauss
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322:Michael Kirby
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217:Robert Wilson
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170:Judith Malina
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135:Theatre Guild
132:
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84:Fales Library
75:
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32:New York City
29:
21:
1874:
1863:
1837:
1793:
1780:
1768:. Retrieved
1764:the original
1754:
1744:September 4,
1742:. Retrieved
1736:
1726:
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1558:
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1541:
1533:
1529:
1498:
1487:. Retrieved
1483:
1459:
1434:. Retrieved
1430:
1420:
1408:. Retrieved
1404:
1394:
1382:. Retrieved
1378:the original
1368:
1359:
1329:
1328:
1305:
1281:Allan Kaprow
1271:Dick Higgins
1204:1995-2000 –
1182:
1151:
1140:
1134:
1128:
1122:
1116:
1110:
1104:
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1074:
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1017:
1011:
994:
985:WHAT TO WEAR
984:
974:
964:
955:Madame Adare
954:
944:
934:
924:
910:
897:
892:IDIOT SAVANT
891:
885:
879:
873:
867:
861:
855:
849:
843:
837:
831:
825:
819:
813:
808:The Universe
807:
801:
795:
789:
783:
777:
771:
765:
759:
753:
747:
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681:
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604:
600:
595:Total Recall
594:
588:
582:
566:
558:
551:
539:
521:
512:
500:
497:Philip Glass
492:Don Giovanni
490:
480:
465:Václav Havel
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178:Kate Manheim
149:
131:John Gassner
122:
112:
104:
97:
81:
49:
39:
27:
26:
1902:1937 births
1786:Als, Hilton
1770:November 8,
1631:Blank Forms
1410:November 8,
1384:November 7,
1313:Mac Wellman
1246:Avant-garde
1157:Obie Awards
605:Hotel China
572:Major works
536:Kathy Acker
487:Paris Opera
359:Pavol Liska
304:(1968) and
298:minimal art
229:Mabou Mines
191:Jonas Mekas
174:Julian Beck
165:Jonas Mekas
74:of France.
52:Obie Awards
36:avant-garde
1896:Categories
1623:Alan Licht
1590:Alan Licht
1489:2023-12-05
1325:References
1276:Intermedia
1266:Happenings
1038:Total Rain
915:Tanglewood
718:Egyptology
601:HcOhTiEnLa
441:librettist
221:Jack Smith
195:Ken Jacobs
1849:PennSound
1697:Tel Quel,
1633:Edition,
1405:NYU Today
1224:of France
999:John Zorn
583:Angelface
519:Molière's
460:The Golem
371:DJ Mendel
351:Radiohole
302:Angelface
1436:June 23,
1229:See also
1056:Mad Love
736:The Cure
621:Evidence
589:Ida-Eyed
523:Don Juan
509:Florence
312:(1972).
306:Ida-Eyed
161:The Brig
1856:in the
1213:2001 –
1194:1992 –
1187:1990 –
1177:1990 –
1170:1974 –
1163:1972 –
649:Pain(t)
542:at the
526:at the
514:Woyzeck
503:at the
485:at the
411:at the
292:leader
107:shyness
90:(NYU).
78:Archive
1840:stream
1261:Fluxus
1131:(2010)
1125:(2005)
1119:(2005)
1113:(2001)
1107:(1996)
1101:(1995)
1095:(1993)
1089:(1991)
1083:(1986)
1077:(1977)
1071:(1976)
471:, and
334:effect
332:, and
290:Fluxus
141:Career
62:, the
1836:UBU:
1719:JSTOR
1671:JSTOR
1534:Vimeo
1330:Notes
1063:Books
905:Opera
603:(or)
577:Plays
409:Venus
363:NTUSA
1772:2009
1746:2015
1438:2023
1412:2009
1386:2009
766:Lava
530:and
475:for
284:The
172:and
159:and
1847:on
641:or
550:'s
538:'s
499:'s
407:'s
399:at
393:'s
377:."
273:is,
86:at
1898::
1792:,
1735:.
1704:^
1642:^
1629:,
1625:,
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1549:,
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1468:^
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1446:^
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1358:.
1338:^
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269:IS
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1492:.
1462:.
1440:.
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1388:.
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1001:)
991:)
981:)
971:)
961:)
951:)
941:)
931:)
921:)
617:)
348:,
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