Whose Avant-Garde?

On the occasion of the 56th Annual Obie Awards, we ask theater-makers their view of today’s—and tomorrow’s—experimental theater

I get described as an avant-garde theater artist because I wear high-heels and use a heightened theatricality. The Greeks used to wear high-heels when they performed. I am a traditionalist and proud to be one. And just to be clear—there's nothing wrong with being avant-garde, but let’s acknowledge what it actually is. The rule and taboo to break is our egomaniacal desire to be thought of as new, our amnesia in regards to actual history, and our fear of theatricality.

Alex Timbers, artistic director of Les Frères Corbusier

Over time, there’s less and less shock value to be mined in terms of onstage acts and imagery, short of real violence and real sex, which might be the last possible transgressions. The future taboos come from integrating the audience more and more into the onstage madness, and in immersive environmental work where the boundary between performance and reality can lack distinction. There’s real potential to disturb, provoke, and awaken there.

Young Jean Lee, playwright/director

I think the “downtown/experimental/avant-garde” theater people I've worked with have been doing a pretty good job of keeping the theater relevant and challenging. Our producers, presenters, and funders care about diversity and innovation. Our tickets don’t cost $100. I do think that experimental theater can be elitist in its own way, which is another issue, but at least I can afford to go see it.

Pavol Liska and Kelly Copper, artistic directors of the Nature Theater of Oklahoma
Next up, the theater of robots and trees: Rude Mechs' The Method Gun, performed this season at DTW.
Alan Simmons
Next up, the theater of robots and trees: Rude Mechs' The Method Gun, performed this season at DTW.
ERS and John Collins threw the book at theater: Gatz
Joan Marcus
ERS and John Collins threw the book at theater: Gatz

Of course the avant-garde exists. It has always existed, and it will always exist, as it should for a healthy balance (or unbalancing) of society. But right now it’s struggling because it is not engaged by intelligent criticism. The criticism, more so than even the art, has become lazy and complacent. Critics ask really nothing from us or from the art form. It takes both a vigorous art and a vigorous criticism to have a really vital avant-garde.

John Collins, artistic director of Elevator Repair Service

The funny thing for me and my company is that when we were 21 or 22 years old, we were so damned determined to be avant-garde that what’s avant-garde to me now is making some more conventional choices, like all this work we’ve been doing with classic texts. Maybe when they’re writing about this 20 years later, the avant-garde will turn out to be about work that on the surface appears to move back toward conventions. Maybe in doing that we find something that’s truly new.

Jay Scheib, director

I think any self-respecting artist would consider themselves trying to experiment, trying to move the form forward, but I’m personally inspired to be kind of derriere-garde. There have been a lot of great experiments, none of which have really been synthesized [into mainstream theater], so there’s an enormous disparity between the theater artists experimenting with new forms successfully and then what we end up seeing on more mainstream stages.

Mac Wellman, playwright

I prefer to use the term experimental rather than avant-garde. But all theater is experimental. I don’t think the difference between avant-garde theater and mainstream theater is that great. All theater is made in the same way. There is always a stage manager, there are always rehearsals, it all kind of looks messy in the same stupid way, only the product ends up being different.

David Herskovits, artistic director of Target Margin Theater

We need to reframe the terms for discussion of theatrical innovation. Does anybody like the name “avant garde” anymore? The label has too much baggage. But the questions of rules and breaking them is as valid as it is ancient. Context is everything. Nobody has really shed all their conventional expectations, shibboleths, and taboos. The sets of conventions, the frames, vary with context and community; that is all. What seems familiar and safe in one context seems classic in another and daring in a third.

Mark Russell, artistic director of Under the Radar

Yes, the avant-garde still exists. It exists wherever there are rules and taboos that have not been tested—like speaking every word from a great American novel. Or not projecting one’s voice like you’re supposed to in the theater, or talking for two and a half hours from notes, not a set script. All of these performances go back to the roots of the theatrical avant-garde. Each generation and community defines that avant for themselves.


Qui Nguyen, artistic director of Vampire Cowboys Theatre Company

Bring the hotness that’s been blowing up in venues like Here, P.S.122, and Incubator Arts Project into spots like Playwrights Horizons and Second Stage to see what we can do. Seriously, wouldn’t it be hot to see Young Jean Lee in Lincoln Center, Banana Bag and Bodice at MTC, or, hell, I woulda loved to have gotten that call to give my Vampire Cowboys a crack at giving Spider-man some real theatrical superpowers. We’re busting at the seams with innovation and inventiveness—it’s time that Midtown started investing in our generation’s brand of badass.

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