At the core of Herbert Blau's theatre theory are meditations on appearance, repetition, bodily texts, temporality, history, and the illusory and elusive workings of power. Blau's decades of theorizing are refracted through his long experience as a theatremaker, including his production of Waiting for Godot—before an audience of San Quentin prisoners. In this essay, Diamond explores the affinities between Blau, the poststructuralists, and Beckett.

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© 2000 Massachusetts Institute of Technology
2000
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