I should like to thank the following individuals and institutions for providing illustrative material and for permission to reproduce the various sketches and photographs: Akademie der Künste (West Berlin), Chris J. Arthurs, Agence de Presse Photographique Bernand, Zoë Dominic, Ed Ellis and The Banff Centre for the Arts, Adolf u. Luisa Haeuser-Stiftung, Stadt u. Universitäts Bibliothek Frankfurt am Main, Ted Hughes, Lindsay Kemp, Lipnitzki Viollet, Theatermuseum des Institutes für Theaterwissenschaft der Universität Köln, Museum of the Performing Arts, New York Public Library at Lincoln Center, Theatre Museum Collection Victoria and Albert Museum, Max Waldman, and Richard Feldman.
I wish to express my deep appreciation to those who helped me to define the avant garde line of development by responding to my questions and providing information so generously: in particular Roger Blin, Joe Chaikin, Lindsay Kemp, Charles Marowitz and Richard Schechner; members of Jean-Louis Barrault’s company at the Gare d’Orsay and of the Théâtre du Soleil, as well as staff at the National Theatre and Arthur Holmberg of ART. In addition I would like to thank Edward Bond for persuading me that, despite similarities in a play like Early Morning, his work had no place in this study, and Ann Saddlemyer for her helpful criticism of the first version of this study.
My thanks are also due to York University for the research fellowship that allowed me to complete the 1981 edition—originally published by Cambridge University Press under the title of Holy Theatre. This completely revised and updated version has been supported both by a grant from the Faculty of Arts at York University, and by the Social Sciences and Humanities Research Council of Canada, to whom I am most grateful. I would also like to acknowledge the help of Marion Jaeckel and Alyson McMackon, who provided bibliographical assistance.
Last, but by no means least, my wife’s unflagging interest and encouragement has been invaluable, both then and now.