Contents
Restoring Theatre Activism in Postcommunist Eastern and Central Europe-Diana Manole
Alternative Theatre in the Postcolonies of Communism-Vessela S. Warner
Part One. Re/Inventing Alternative Theatre after the Fall of Communism
1. Reality Makers: Hungarian Independent Theatre before and after Communism-Andrea Tompa
2. The Center and the Fringe: Post-Soviet Alternative Theatre in Estonia-Jaak Rähesoo
3. Theatre NO99: An Alternative State Theatre-Luule Epner
4. The Search for Alternatives in Latvian Theatre, 1991–2004: A Creator’s Notebook-Baņuta Rubess
5. The Assault of Alternative Theatre against the Limited Universe-Angelina Roşca
6. Teatr.doc and the Struggle for Authenticity and Relevance in Contemporary Russian Drama and Theatre-John Freedman
7. DAH Theatre: Decontaminating Serbian Culture-Dennis Barnett
Part II. Postcommunist Aesthetics and Performance Dissent
8. Fusing Performative Boundaries: Relations among Text, Actor, and Space in the Experimental Style of Theatre Laboratory Sfumato-Violeta Detcheva and Vessela S. Warner
9. Theatre Laboratory Alma Alter: Jerzy Grotowski’s Legacy and the Heterogeneous Origin of Bulgarian Alternative Theatre-Vessela S. Warner
10. Redefining Kitsch and Camp in Russian Opera: Moscow’s Helikon Opera in Transition-Christopher Silsby
11. Prague’s Studio Ypsilon and the Czech Liberated Theatre: An Intercultural Perspective at the Start of the Twenty-First Century-Barry Freeman
12. After the Avalanche: Czech Theatre’s Search for the Meaning of Alternative-Dennis C. Beck
13. Playing with Citizenship: NSK and Janez Janša-S. E. Wilmer
14. The Perfect Other: Performing Artistic Freedom in Solidarity with the Belarus Free Theatre-Margarita Kompelmakher
Notes
Bibliography
Contributors
Index