Richard Murphet completed a Ph.D. (2018) at the University of Melbourne, where he is also an Honorary Lecturer in Performance. In addition to training actors, directors, playwrights and theoreticians and heading the Theatre Department, Murphet has worked as a director and writer in theatre over four decades.

• AcknowledgemntsList of IllustrationsIntroduction1 The Three Artists: Background and Selection2 Rationale for Selection3 The Making of Art4 Modernism and Theatre5 Romantic-modernist Precursor6 Late Modernism in Theatre7 Form, Politics and Theatre Theory8 Chapter Outlines1 Richard Foreman1 Theatre as a Philosophical Endeavour2 Foreman’s Early Influences3 Phenomena and Ontology Onstage4 Molecular Creation: Insistence and Gertrude Stein5 Language, Metaphor and Action in Mid-career Plays6 Confusion, Enticement and the Spectator7 Foreman as Director: The Relationship of Word to Action8 Foreman in the Rehearsal Room9 Theatre of a Quantum Age10 Performers in Foreman’s Theatre: Manic Dancers of the Pattern2 Jenny Kemp1 Early Influences2 The Verbal and the Visual3 Interweaving Theatrical Modes in The Black Sequin Dress4 Language Registers in Call of the Wild5 Organisational Strategies in The Black Sequin Dress6 The Multi-dimensional Woman in The Black Sequin Dress7 Kemp as Visualiser: Storyboards and Paul Delvaux8 Kemp as Director: Working with Duration9 Complementary Autonomy: Artistic Collaboration10 Actors: New Forms of Representation3 Richard Murphet1 Cultural Influences on Subjectivity2 Seeking an Epileptic Language: Quick Death3 Scenic Writing: Slow Love4 The Language of Disintegration: Dolores in the Department Store5 Construction of Entanglement: The Inhabited Woman6 Writing Invasion: The Inhabited ManConclusion1 Updating Subjectivity2 The Writer/Director3 Two Focal Depths: The Something and the Nothing4 Resistance within the PracticeBibliographyIndex

Richard Murphet completed a Ph.D. (2018) at the University of Melbourne, where he is also an Honorary Lecturer in Performance. In addition to training actors, directors, playwrights and theoreticians and heading the Theatre Department, Murphet has worked as a director and writer in theatre over four decades.

• AcknowledgemntsList of IllustrationsIntroduction1 The Three Artists: Background and Selection2 Rationale for Selection3 The Making of Art4 Modernism and Theatre5 Romantic-modernist Precursor6 Late Modernism in Theatre7 Form, Politics and Theatre Theory8 Chapter Outlines1 Richard Foreman1 Theatre as a Philosophical Endeavour2 Foreman’s Early Influences3 Phenomena and Ontology Onstage4 Molecular Creation: Insistence and Gertrude Stein5 Language, Metaphor and Action in Mid-career Plays6 Confusion, Enticement and the Spectator7 Foreman as Director: The Relationship of Word to Action8 Foreman in the Rehearsal Room9 Theatre of a Quantum Age10 Performers in Foreman’s Theatre: Manic Dancers of the Pattern2 Jenny Kemp1 Early Influences2 The Verbal and the Visual3 Interweaving Theatrical Modes in The Black Sequin Dress4 Language Registers in Call of the Wild5 Organisational Strategies in The Black Sequin Dress6 The Multi-dimensional Woman in The Black Sequin Dress7 Kemp as Visualiser: Storyboards and Paul Delvaux8 Kemp as Director: Working with Duration9 Complementary Autonomy: Artistic Collaboration10 Actors: New Forms of Representation3 Richard Murphet1 Cultural Influences on Subjectivity2 Seeking an Epileptic Language: Quick Death3 Scenic Writing: Slow Love4 The Language of Disintegration: Dolores in the Department Store5 Construction of Entanglement: The Inhabited Woman6 Writing Invasion: The Inhabited ManConclusion1 Updating Subjectivity2 The Writer/Director3 Two Focal Depths: The Something and the Nothing4 Resistance within the PracticeBibliographyIndex

Richard Murphet completed a Ph.D. (2018) at the University of Melbourne, where he is also an Honorary Lecturer in Performance. In addition to training actors, directors, playwrights and theoreticians and heading the Theatre Department, Murphet has worked as a director and writer in theatre over four decades.

• AcknowledgemntsList of IllustrationsIntroduction1 The Three Artists: Background and Selection2 Rationale for Selection3 The Making of Art4 Modernism and Theatre5 Romantic-modernist Precursor6 Late Modernism in Theatre7 Form, Politics and Theatre Theory8 Chapter Outlines1 Richard Foreman1 Theatre as a Philosophical Endeavour2 Foreman’s Early Influences3 Phenomena and Ontology Onstage4 Molecular Creation: Insistence and Gertrude Stein5 Language, Metaphor and Action in Mid-career Plays6 Confusion, Enticement and the Spectator7 Foreman as Director: The Relationship of Word to Action8 Foreman in the Rehearsal Room9 Theatre of a Quantum Age10 Performers in Foreman’s Theatre: Manic Dancers of the Pattern2 Jenny Kemp1 Early Influences2 The Verbal and the Visual3 Interweaving Theatrical Modes in The Black Sequin Dress4 Language Registers in Call of the Wild5 Organisational Strategies in The Black Sequin Dress6 The Multi-dimensional Woman in The Black Sequin Dress7 Kemp as Visualiser: Storyboards and Paul Delvaux8 Kemp as Director: Working with Duration9 Complementary Autonomy: Artistic Collaboration10 Actors: New Forms of Representation3 Richard Murphet1 Cultural Influences on Subjectivity2 Seeking an Epileptic Language: Quick Death3 Scenic Writing: Slow Love4 The Language of Disintegration: Dolores in the Department Store5 Construction of Entanglement: The Inhabited Woman6 Writing Invasion: The Inhabited ManConclusion1 Updating Subjectivity2 The Writer/Director3 Two Focal Depths: The Something and the Nothing4 Resistance within the PracticeBibliographyIndex