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Coles Alchemies of Theater: Plays, Scores, Writings at Village Green Shopping Centre in Vernon, BC
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In addition to his work as visual artist, publisher, poet, and composer, Dick Higgins (1938–98) was also a genuine man of the theater. A founder of Fluxus, he was a major figure in artistic communities in downtown New York City, across Europe, and in Japan. Yet as important as Higgins’s work has been to historians of the American avant-garde, relatively little attention has been paid to his radical theatrical vision.
Alchemies of Theater brings together a broad selection of Higgins’s writings and theater-related work, much of it unpublished or long out of print, including plays and performance scores, drawings, and writings on theater and performance. In addition, Bonnie Marranca's introductory essays offer wide-ranging theatrical context for the works included in the volume. As the book demonstrates, Higgins deconstructed the drama long before it became a project of theater; undercut the traditional roles of author and director; created what is now considered “devised” theater; pioneered the use of media in theater, writing the first electronic opera; and was a precursor in deconstruction and “postdramatic” avant-garde traditions. His Intermedia manifesto offered a sweeping view of interdisciplinarity—in effect, a new arts ecology.
In addition to his work as visual artist, publisher, poet, and composer, Dick Higgins (1938–98) was also a genuine man of the theater. A founder of Fluxus, he was a major figure in artistic communities in downtown New York City, across Europe, and in Japan. Yet as important as Higgins’s work has been to historians of the American avant-garde, relatively little attention has been paid to his radical theatrical vision.
Alchemies of Theater brings together a broad selection of Higgins’s writings and theater-related work, much of it unpublished or long out of print, including plays and performance scores, drawings, and writings on theater and performance. In addition, Bonnie Marranca's introductory essays offer wide-ranging theatrical context for the works included in the volume. As the book demonstrates, Higgins deconstructed the drama long before it became a project of theater; undercut the traditional roles of author and director; created what is now considered “devised” theater; pioneered the use of media in theater, writing the first electronic opera; and was a precursor in deconstruction and “postdramatic” avant-garde traditions. His Intermedia manifesto offered a sweeping view of interdisciplinarity—in effect, a new arts ecology.
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