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 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 17. Custom publisher’s logo for Abbie Hoffman, Woodstock Nation: A Talk-Rock Album (New York: Random House, 1969). Reproduced courtesy of Random House.

Figure 20. Carolee Schneemann reading from Cezanne, She Was a Great Painter during a performance of Interior Scroll (1975). Photograph by Anthony McCall. Image courtesy of the Getty Research Institute. Reproduced by permission of Carolee Schneemann.

Figure 21. Schneemann and Felipe Ehrenberg, with mimeograph and cat, c. 1971. The Beau Geste Press Ephemera, 1970–76, Department of Special Collections, Cecil H. Green Library, Stanford University. Image courtesy of Stanford University Libraries. Reproduced by permission of Lourdes Hernández Fuentes.

Figure 22. Front (left) and back (right) covers of Carolee Schneemann, Parts of a Body House Book (Cullompton, Devon, UK: Beau Geste Press, 1972). Images courtesy of the Getty Research Institute. Reproduced by permission of Carolee Schneemann.

Figure 23. Schneemann, “Blood Work,” Parts of a Body House Book. Image courtesy of the Getty Research Institute. Reproduced by permission of Carolee Schneemann.

Figure 24. Schneemann, “INDEX,” Parts of a Body House Book. Image courtesy of the Getty Research Institute. Reproduced by permission of Carolee Schneemann.