Dr James Reynolds is a Senior Lecturer in Drama at Kingston University, London, UK. His Ph.D. research at Queen Mary, University of London investigated performance practices in Robert Lepage's devised theatre. His publications include Howard Barker’s Theatre: Wrestling with Catastrophe (Bloomsbury Methuen Drama, 2015) co-edited with Andy W. Smith, and Addiction and Performance (2014), co-edited with Zoe Zontou.

• AcknowledgementsIntroduction: GenesisEx Machina in briefRevolutions in theatrical spaceArchitectural aestheticsThe road to Ex MachinaLearning curvesFoundations: la Caserne and the patenteuxPart One: Foundations and Stepping Stones (1994–1999)IntroductionChapter One: Lepagean AestheticsDiscovering Japan’s geo-poetry: Seven Streams of the River Ota Turning the power of space into theatreContradiction as aesthetic keyFlagshipsCounterpoint: A Dream PlayChapter Two: Making Concrete NarrativesGround work: The Geometry of Miracles Concrete poetry Making Narrative Concrete: Elsinore Scenographic acting and the body politicConcrete narratives - sublime effectsCritical condition Form as cultural expressionChapter Three: Critical ThemesEvolution Turning point: the importance of CelestineClass, contradiction and the antiheroThe Damnation of Faust in JapanProcess, collaboration, authorship and directingCultural difference, cultural specificityPart Two: Choosing All Directions (2000–2008)IntroductionChapter Four: UpgradesZulu Time: Q for QuébecUpgrading the TrilogyThe importance of MétissagesMaking The Far Side of the MoonDramatic devices and the architecture of convergenceChapter Five: Québec Stories Art and politics: La Casa Azul and The Busker’s OperaDance with three hands: EonnagataNarrative terms: the story of the story of the storytellerKÀ: entertainment architecture Writing the myth Reading the circusChapter Six: New Ways The Image Mill: all roads lead to homeOpera on tour: 1984 and The Rake’s ProgressEx Machina at the Metropolitan Opera The Blue Dragon: character, culture and concrete narrativeLipsynch: staging the screamProcess in processPart Three: Starting Points (2008–2018)IntroductionChapter Seven: Critical RelationshipsThe Nightingale and Other Short FablesTotem: evolving through the gift shopCollaboration: Ex Machina and the Metropolitan Opera Wagner, architectural aesthetics, and Der Ring des NibelungenReviewing the RingThe Tempest and L’Amour de LoinPaying for artChapter Eight: Brave New WorldsVirtual reality: The Library at NightThe Tempest: collaborating the nationHearts design Writing HeartsConcrete HeartsWritingBet on redChapter Nine: BeginningFrame by FrameUpgrades Making 887Taking the narrative turnLe DiamantCodaNotesBibliographyIndex

The 'revolutions' in the title of this exhaustively researched study refer at first glance to the immenseimpact Robert Lepage has had on international theatre culture through the works he has produced withthe team of designers, scenographers, architects, project managers, dramaturgs, performers, and technicianshe has assembled in his Quebec City–based company, Ex Machina … Reynolds’s personal observations of Lepage in rehearsal are detailed and revelatory.

Dr James Reynolds is a Senior Lecturer in Drama at Kingston University, London, UK. His Ph.D. research at Queen Mary, University of London investigated performance practices in Robert Lepage's devised theatre. His publications include Howard Barker’s Theatre: Wrestling with Catastrophe (Bloomsbury Methuen Drama, 2015) co-edited with Andy W. Smith, and Addiction and Performance (2014), co-edited with Zoe Zontou.

• AcknowledgementsIntroduction: GenesisEx Machina in briefRevolutions in theatrical spaceArchitectural aestheticsThe road to Ex MachinaLearning curvesFoundations: la Caserne and the patenteuxPart One: Foundations and Stepping Stones (1994–1999)IntroductionChapter One: Lepagean AestheticsDiscovering Japan’s geo-poetry: Seven Streams of the River Ota Turning the power of space into theatreContradiction as aesthetic keyFlagshipsCounterpoint: A Dream PlayChapter Two: Making Concrete NarrativesGround work: The Geometry of Miracles Concrete poetry Making Narrative Concrete: Elsinore Scenographic acting and the body politicConcrete narratives - sublime effectsCritical condition Form as cultural expressionChapter Three: Critical ThemesEvolution Turning point: the importance of CelestineClass, contradiction and the antiheroThe Damnation of Faust in JapanProcess, collaboration, authorship and directingCultural difference, cultural specificityPart Two: Choosing All Directions (2000–2008)IntroductionChapter Four: UpgradesZulu Time: Q for QuébecUpgrading the TrilogyThe importance of MétissagesMaking The Far Side of the MoonDramatic devices and the architecture of convergenceChapter Five: Québec Stories Art and politics: La Casa Azul and The Busker’s OperaDance with three hands: EonnagataNarrative terms: the story of the story of the storytellerKÀ: entertainment architecture Writing the myth Reading the circusChapter Six: New Ways The Image Mill: all roads lead to homeOpera on tour: 1984 and The Rake’s ProgressEx Machina at the Metropolitan Opera The Blue Dragon: character, culture and concrete narrativeLipsynch: staging the screamProcess in processPart Three: Starting Points (2008–2018)IntroductionChapter Seven: Critical RelationshipsThe Nightingale and Other Short FablesTotem: evolving through the gift shopCollaboration: Ex Machina and the Metropolitan Opera Wagner, architectural aesthetics, and Der Ring des NibelungenReviewing the RingThe Tempest and L’Amour de LoinPaying for artChapter Eight: Brave New WorldsVirtual reality: The Library at NightThe Tempest: collaborating the nationHearts design Writing HeartsConcrete HeartsWritingBet on redChapter Nine: BeginningFrame by FrameUpgrades Making 887Taking the narrative turnLe DiamantCodaNotesBibliographyIndex

The 'revolutions' in the title of this exhaustively researched study refer at first glance to the immenseimpact Robert Lepage has had on international theatre culture through the works he has produced withthe team of designers, scenographers, architects, project managers, dramaturgs, performers, and technicianshe has assembled in his Quebec City–based company, Ex Machina … Reynolds’s personal observations of Lepage in rehearsal are detailed and revelatory.

Dr James Reynolds is a Senior Lecturer in Drama at Kingston University, London, UK. His Ph.D. research at Queen Mary, University of London investigated performance practices in Robert Lepage's devised theatre. His publications include Howard Barker’s Theatre: Wrestling with Catastrophe (Bloomsbury Methuen Drama, 2015) co-edited with Andy W. Smith, and Addiction and Performance (2014), co-edited with Zoe Zontou.

• AcknowledgementsIntroduction: GenesisEx Machina in briefRevolutions in theatrical spaceArchitectural aestheticsThe road to Ex MachinaLearning curvesFoundations: la Caserne and the patenteuxPart One: Foundations and Stepping Stones (1994–1999)IntroductionChapter One: Lepagean AestheticsDiscovering Japan’s geo-poetry: Seven Streams of the River Ota Turning the power of space into theatreContradiction as aesthetic keyFlagshipsCounterpoint: A Dream PlayChapter Two: Making Concrete NarrativesGround work: The Geometry of Miracles Concrete poetry Making Narrative Concrete: Elsinore Scenographic acting and the body politicConcrete narratives - sublime effectsCritical condition Form as cultural expressionChapter Three: Critical ThemesEvolution Turning point: the importance of CelestineClass, contradiction and the antiheroThe Damnation of Faust in JapanProcess, collaboration, authorship and directingCultural difference, cultural specificityPart Two: Choosing All Directions (2000–2008)IntroductionChapter Four: UpgradesZulu Time: Q for QuébecUpgrading the TrilogyThe importance of MétissagesMaking The Far Side of the MoonDramatic devices and the architecture of convergenceChapter Five: Québec Stories Art and politics: La Casa Azul and The Busker’s OperaDance with three hands: EonnagataNarrative terms: the story of the story of the storytellerKÀ: entertainment architecture Writing the myth Reading the circusChapter Six: New Ways The Image Mill: all roads lead to homeOpera on tour: 1984 and The Rake’s ProgressEx Machina at the Metropolitan Opera The Blue Dragon: character, culture and concrete narrativeLipsynch: staging the screamProcess in processPart Three: Starting Points (2008–2018)IntroductionChapter Seven: Critical RelationshipsThe Nightingale and Other Short FablesTotem: evolving through the gift shopCollaboration: Ex Machina and the Metropolitan Opera Wagner, architectural aesthetics, and Der Ring des NibelungenReviewing the RingThe Tempest and L’Amour de LoinPaying for artChapter Eight: Brave New WorldsVirtual reality: The Library at NightThe Tempest: collaborating the nationHearts design Writing HeartsConcrete HeartsWritingBet on redChapter Nine: BeginningFrame by FrameUpgrades Making 887Taking the narrative turnLe DiamantCodaNotesBibliographyIndex

The 'revolutions' in the title of this exhaustively researched study refer at first glance to the immenseimpact Robert Lepage has had on international theatre culture through the works he has produced withthe team of designers, scenographers, architects, project managers, dramaturgs, performers, and technicianshe has assembled in his Quebec City–based company, Ex Machina … Reynolds’s personal observations of Lepage in rehearsal are detailed and revelatory.