Appropriation and Transgression in Contemporary American Performance: The Wooster Group, Holly Hughes, and Karen Finley

Jon Erickson

doi:10.2307/3207757

Appropriation and Transgression in Contemporary American Performance: The Wooster Group, Holly Hughes, and Karen Finley

Theatre Journal ◽

10.2307/3207757 ◽

1990 ◽

Vol 42 (2) ◽

pp. 225 ◽

Cited By ~ 5

Author(s):

Jon Erickson

Keyword(s):

Wooster Group ◽

Karen Finley

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For Randy

Dance Research Journal ◽

10.1017/s0149767716000346 ◽

2016 ◽

Vol 48 (3) ◽

pp. 95-97

Author(s):

Karen Finley

Keyword(s):

Personal Essay ◽

Karen Finley

In this personal essay, artist and professor Karen Finley reflects on her relationship with her colleague and mentor, Randy Martin

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The Death of the Avantgarde

TDR/The Drama Review ◽

10.1162/1054204054742390 ◽

2005 ◽

Vol 49 (3) ◽

pp. 10-42 ◽

Cited By ~ 8

Author(s):

David Savran

Keyword(s):

Popular Press ◽

Wooster Group

Despite the disappearance of the historical avantgarde before WWII, both scholars and the popular press are reluctant to relinquish the belief in a radical, American, theatrical avantgarde. No other artists epitomize this avantgarde more than the Wooster Group, which, in its 30 years of work, has gradually become recognized as the emblematic avantgarde company. But was the avantgarde that developed in the 1970s ever really an avantgarde at all?

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