Broadway theatre | West End theatre | musical theatre | Royal National Theatre | theatre | Royal Court Theatre | American Ballet Theatre | Musical theatre | National Theatre | Theatre Royal, Drury Lane | Bolshoi Theatre | Abbey Theatre | Haymarket Theatre | Theatre Royal | Play (theatre) | experimental music | Globe Theatre | Theatre | Mariinsky Theatre | Manhattan Theatre Club | Lyric Theatre | Théâtre du Châtelet | Her Majesty's Theatre | Grand Théâtre de Genève | Théâtre des Champs-Élysées | Theatre 625 | Goodman Theatre | Sydney Theatre Company | Lyceum Theatre, London | Gaiety Theatre, London |
Gordon Porterfield was the key playwright in residence at Baltimore's Corner Theatre ETC, which was founded in 1968 by Ellen Stewart and Leslie Irons as an experimental theatre whose principal goal was the production of new plays.
It did not take long for him to become associated with Corner Theatre ETC, an experimental theatre also located in Baltimore, where he continued acting as well as trying his hand at directing and, ultimately, writing plays.
The formation of the Teatro Experimental de la Universidad de Chile (Experimental Theatre of the University of Chile) in 1941, followed by the founding of the Teatro del Ensayo de la Universidad Catolica (TEUC) (Theatre Actor Studio of the Catholic University) in 1943 created a qualitative change in Chilean theatre.
When, during his frequent visits to Mexico (three months each summer for nine years), he witnessed plays by Eugène Ionesco and Jean Tardieu in the early fifties, he determined to study the new playwrights, and he published his second book (the first having been The World of Jean Anouilh, 1961, University of California Press), Avant-Garde, the Experimental Theatre in France, in 1962 (U.C. Press), one of two early books in English on that important movement.
His work was inspired by the theories and practices of experimental theatre of Adolphe Appia, Vsevolod Meyerhold, Bertolt Brecht, Antonin Artaud, Peter Brook, Joseph Chaikin, Richard Scheckner, Tadeush Kantor, Carl Weber, Robert Corrigan, Mata Miloshevich, and Mira Miocinovic.
He studied biology at the University of Lisbon and formed a jazz quartet at the Hot Club of Portugal, entered the universe of improvisation and composition techniques, simultaneously collaborating in the creation of two experimental theatre shows with Lisbon's Comuna Teatro de Pesquisa and Teatro Oficina from Brazil, in Brecht's play Galileo.
Deshpande started her career as a teacher at Chhabildas Boy's High School in Dadar, Mumbai, while working here she asked noted playwright, Vijay Tendulkar to write a few plays for her students, this started her association with theatre, and in time made one of the pioneers in experimental theatre movement of the 1960s, as she joined the group Rangayan, which was founded by Vijaya Mehta, Tendulkar, Arvind Deshpande and Shriram Lagoo.
The show was created in New York City in 1985 by the experimental-theatre director Lee Breuer, one of the founders of the seminal American avant-garde theatre company Mabou Mines, and composer Bob Telson.