If you were teaching a seminar on the history of American performance art, you just might build the whole course around the 20-year careers of Spalding Gray and Robbie McCauley. Coming out of experimental theater movements that broke down traditional dramatic narrative and stripped away fictional character to acknowledge the actor's presence and person, both emerged as solo performers, making pieces out of vital vexing questions. Given that Gray's centered on himself, and McCauley's on the meaning of race in the U.S., it's hardly surprising that today the distance between their work is as wide as... More >>>