Richard Foreman
Biographic Data
| ID | 1710549 |
|---|---|
| NAME | Richard Foreman |
| GIVEN NAMES | Richard |
| FAMILY NAME | Foreman |
| SIGNATURE | FOREMAN R |
| AFFILIATIONS | Has produced over 40 of his own plays for his Ontological-Hysteric Theater, as well as directing and designing many classical productions at major theatres both in the U.S. and Europe. His collected plays have been published in a series of five volumes |
| VERIFIED | No |
| TOTAL WORKS | 24 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 24 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1849 |
| LATEST PUBLICATION YEAR | 1998 |
| H-INDEX | 1 |
Program Notes on Pearls for Pigs
June 01 1998 Program Notes on Pearls for Pigs Richard Foreman Richard Foreman Has produced over 40 of his own plays for his Ontological-Hysteric Theater, as well as directing and designing many classical productions at major theatres both in the U.S. and Europe. His collected plays have been published in a series of five volumes Search for other works by this author on: This Site Google Scholar Author and Article Information Richard Foreman Has p…
Unbalancing Acts
Hotel Radio
I've Got the Shakes
Ages of the Avant-Garde
Bonnie Marranca, Meredith Monk, Richard Foreman, Carolee Schneemann, Maria Irene Fornes, Deborah Jowitt, Deborah Hay, Rachel Rosenthal, Jill Johnston, Kenneth Bernard, Yvonne Rainer, Jean-Claude van Itallie, Dick Higgins, Richard Kostelanetz, Judith Malina, Joyce Aaron, Herbert Blau, Anna Halprin, Barbara Hammer, Rosalyn Drexler, Rochelle Owens, Allan Kaprow, Ages of the Avant-Garde, Performing Arts Journal, Vol. 16, No. 1, Bodies of Work (Jan., …
The Sense of an Ending
Royalty-Free Plays. Foreman's Invitation to Directors
A Conversation with Richard Foreman
BERNSTEIN: Let me start by asking something about the formatting of your plays in your first two published books: Plays and Manifestoes [1976] and Reverberation Machine [I985]. The very first plays that you produced are presented with a great deal of extratextual material. For one thing, as is the convention, you assign every line to a speaker (which seems a better word for your practice than to speak of characters). But you also provide-in itali…
Film Is Evil
Richard Foreman on Richard Foreman
Reverberation Machines
Hajj
Don Juan
Book of Splendors
How Truth … Leaps (Stumbles) across Stage
How I Write My (Self
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
How to Write a Play
makes GAPS in the non-beautiful, or look carefully at the structure of the non-beautiful, whatever it is (and remember that structure is always a combination of the THING and the PERCEIVING of it) and see where there are small points, gaps, unarticulated or un-mapped places within it (the non-beautiful) which un-mapped places must be the very places where beauty CAN be planted in the midst of the heretofore unbeautiful. Because the mind's PROJECT…
The Carrot and The Stick
My method of procedure in generating texts for performance hasn't really changed in eight years in at least one rather peculiar way. I keep sending myself orders on 'how to proceed'-reminders of what I'm aiming at, and piles of these orders accumulate on my desk next to the notebook filled with the scratching that eventually gets shaped into a 'play'. What I REALLY want to be able to stage some day are these obsessive theoretical out-pourings-but…
Ontological-Hysteric Theatre
the process of living always grows out of or is based on certain assumptions: these are like the soil on which we stand, or which we use as a point of departure. And this is true in every field....Every idea is thought, every picture is painted, out of certain assumptions or conventions which are so basic, so firmly fixed for the one who thought the idea or painted the picture that he neither pays heed to them, nor, for that matter, introduces th…
Ontological-Hysteric Manifesto II
One always begins with the desire to write a certain kind of sentence (to put on stage a certain “kind” of gesture. That “kind” then turns out to be about that-which-becomes-your-content). The key, however, is in this sentence (gesture) cell. Most people don't see the cell, are perceptually unable to see small enough (ephemeralization). Because their LIFE training is that to “see small” means to enter the realm where contradictions are seen to be…
Vertical Mobility
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Musical Development of Arnold Bax
Journal Article THE MUSICAL DEVELOPMENT OF ARNOLD BAX Get access R. L. E. FOREMAN R. L. E. FOREMAN Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume LII, Issue 1, January 1971, Pages 59–68, https://doi.org/10.1093/ml/LII.1.59 Published: 01 January 1971
Bax's Programme Notes
The Cherokee physician, or, Indian guide to health /
igating and curing their diseases, in the uncultivated wilds which gave them birth,-they knew nothing of foreign drugs, but with roots, herbs, and plants found in their own country, they mitigated and cured the diseases most common to that countrj .That their knowledge of th* medical properties of the roots and herbs common in the American forest, is superior to that possessed by the whites will hardly be denied.Neither will it be denied by those…
The Cherokee physician, or, Indian guide to health /
igating and curing their diseases, in the uncultivated wilds which gave them birth,-they knew nothing of foreign drugs, but with roots, herbs, and plants found in their own country, they mitigated and cured the diseases most common to that countrj .That their knowledge of th* medical properties of the roots and herbs common in the American forest, is superior to that possessed by the whites will hardly be denied.Neither will it be denied by those…
Bax's Programme Notes
The Musical Development of Arnold Bax
Journal Article THE MUSICAL DEVELOPMENT OF ARNOLD BAX Get access R. L. E. FOREMAN R. L. E. FOREMAN Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume LII, Issue 1, January 1971, Pages 59–68, https://doi.org/10.1093/ml/LII.1.59 Published: 01 January 1971
Ontological-Hysteric Manifesto II
One always begins with the desire to write a certain kind of sentence (to put on stage a certain “kind” of gesture. That “kind” then turns out to be about that-which-becomes-your-content). The key, however, is in this sentence (gesture) cell. Most people don't see the cell, are perceptually unable to see small enough (ephemeralization). Because their LIFE training is that to “see small” means to enter the realm where contradictions are seen to be…
Vertical Mobility
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Ontological-Hysteric Theatre
the process of living always grows out of or is based on certain assumptions: these are like the soil on which we stand, or which we use as a point of departure. And this is true in every field....Every idea is thought, every picture is painted, out of certain assumptions or conventions which are so basic, so firmly fixed for the one who thought the idea or painted the picture that he neither pays heed to them, nor, for that matter, introduces th…
How to Write a Play
makes GAPS in the non-beautiful, or look carefully at the structure of the non-beautiful, whatever it is (and remember that structure is always a combination of the THING and the PERCEIVING of it) and see where there are small points, gaps, unarticulated or un-mapped places within it (the non-beautiful) which un-mapped places must be the very places where beauty CAN be planted in the midst of the heretofore unbeautiful. Because the mind's PROJECT…
The Carrot and The Stick
My method of procedure in generating texts for performance hasn't really changed in eight years in at least one rather peculiar way. I keep sending myself orders on 'how to proceed'-reminders of what I'm aiming at, and piles of these orders accumulate on my desk next to the notebook filled with the scratching that eventually gets shaped into a 'play'. What I REALLY want to be able to stage some day are these obsessive theoretical out-pourings-but…
How I Write My (Self
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
How Truth … Leaps (Stumbles) across Stage
Don Juan
Book of Splendors
Hajj
Film Is Evil
Richard Foreman on Richard Foreman
Reverberation Machines
A Conversation with Richard Foreman
BERNSTEIN: Let me start by asking something about the formatting of your plays in your first two published books: Plays and Manifestoes [1976] and Reverberation Machine [I985]. The very first plays that you produced are presented with a great deal of extratextual material. For one thing, as is the convention, you assign every line to a speaker (which seems a better word for your practice than to speak of characters). But you also provide-in itali…
Ages of the Avant-Garde
Bonnie Marranca, Meredith Monk, Richard Foreman, Carolee Schneemann, Maria Irene Fornes, Deborah Jowitt, Deborah Hay, Rachel Rosenthal, Jill Johnston, Kenneth Bernard, Yvonne Rainer, Jean-Claude van Itallie, Dick Higgins, Richard Kostelanetz, Judith Malina, Joyce Aaron, Herbert Blau, Anna Halprin, Barbara Hammer, Rosalyn Drexler, Rochelle Owens, Allan Kaprow, Ages of the Avant-Garde, Performing Arts Journal, Vol. 16, No. 1, Bodies of Work (Jan., …
The Sense of an Ending
Royalty-Free Plays. Foreman's Invitation to Directors
I've Got the Shakes
Unbalancing Acts
Hotel Radio
Program Notes on Pearls for Pigs
June 01 1998 Program Notes on Pearls for Pigs Richard Foreman Richard Foreman Has produced over 40 of his own plays for his Ontological-Hysteric Theater, as well as directing and designing many classical productions at major theatres both in the U.S. and Europe. His collected plays have been published in a series of five volumes Search for other works by this author on: This Site Google Scholar Author and Article Information Richard Foreman Has p…
Art (12 works) · Computer Science (9 works) · History (8 works) · Theatre and Performance Studies (7 works) · History (6 works) · Visual arts (5 works) · Art history (4 works) · Philosophy (4 works) · Aesthetics (3 works) · Library science (3 works)