Beyond Text: Theater and Performance in Print After 1900

Figure 2. Julius Oliver [Edward Gordon Craig], “Design for a Stage Scene,” The Mask 1, no. 2 (1908): facing 8. Reproduced by permission of the Edward Gordon Craig Estate.

Figure 3. Edward Gordon Craig, “Design for Scene,” The Mask 1, no. 5 (1908): facing 91. Reproduced by permission of the Edward Gordon Craig Estate.

Figure 4. A Vitruvian woodcut inaugurates The Mask. Craig derived the cliché from his copy of Cesare Cesariano, Di Lucio Vitruvio Polline de architectura libri dece (Como: G. da Ponte, 1521), xlix. Reproduced by permission of the Edward Gordon Craig Estate.

Figure 5. E. G. Craig, Towards a New Theatre (London: J. M. Dent and Sons, 1913), cover. Image courtesy of the Harry Ransom Center, University of Texas at Austin. Reproduced by permission of the Edward Gordon Craig Estate.

Figure 6. E. G. Craig, “Hamlet and Daemon” (1909). William Shakespeare, The Tragedie of Hamlet Prince of Denmark (Weimar: Cranach Press, 1930), 70. Image courtesy of the Rare Books Division, New York Public Library. Reproduced by permission of the Edward Gordon Craig Estate.

Figure 7. Hamlet and Horatio in conversation (Tragedie of Hamlet, 28). Image courtesy of the Rare Books Division, New York Public Library. Reproduced by permission of the Edward Gordon Craig Estate.

Figure 8. Hamlet drags the body of Polonius along the margin (Tragedie of Hamlet, 112–13). Image courtesy of the Rare Books Division, New York Public Library. Reproduced with the permission of the Edward Gordon Craig Estate.

Figure 9. Ophelia’s funeral (Tragedie of Hamlet, 154–55). Image courtesy of the Rare Books Division, New York Public Library. Reproduced by permission of the Edward Gordon Craig Estate.

Figure 10. Lothar Schreyer, Kreuzigung: Spielgang Werk VII (Hamburg: Werkstatt der Kampfbühne, 1920), title page. Image courtesy of the Miriam and Ira D. Wallach Division of Art, Prints, and Photographs, New York Public Library. Reproduced by permission of Michael Schreyer.

Figure 11. Lothar Schreyer’s body-mask designs and symbols for Geliebte and Mutter (Kreuzigung). Image courtesy of the Miriam and Ira D. Wallach Division of Art, Prints, and Photographs, New York Public Library. Reproduced by permission of Michael Schreyer.

Figure 12. Body-mask design and symbol for Mann (Kreuzigung). Image courtesy of the Miriam and Ira D. Wallach Division of Art, Prints, and Photographs, New York Public Library. Reproduced by permission of Michael Schreyer.

Figure 13. Schreyer, Kreuzigung, xii. Image courtesy of the Miriam and Ira D. Wallach Division of Art, Prints, and Photographs, New York Public Library. Reproduced by permission of Michael Schreyer.

Figure 14. Schreyer, Kreuzigung, xxiiii. Image courtesy of the Miriam and Ira D. Wallach Division of Art, Prints, and Photographs, New York Public Library. Reproduced by permission of Michael Schreyer.

Figure 15. Anaglyph 3-D cover for the paperback edition of Paradise Now, Collective Creation of The Living Theatre, Written down by Judith Malina and Julian Beck (New York: Vintage, 1971). Reproduced by permission of the Living Theatre and Random House.

Figure 16. Julian Beck’s “map” of Paradise Now as printed for distribution at performances in English-speaking countries. Living Theatre Records, Beinecke Rare Book and Manuscript Library, Yale University. Reproduced by permission of the Living Theatre.

Figure 18. “The Vision of the Creation of Life” and “Action III” (Paradise Now, 60–61). Photographs by Gianfranco Mantegna. Reproduced by permission of the Living Theatre.

Figure 19. “The Rite of Opposite Forces” (Paradise Now, 106–107). Photograph by Gianfranco Mantegna. Reproduced by permission of the Living Theatre.

Engraved and inked wood block.

Engraved and inked wood block.