ABSTRACT
This introduction presents an overview of the key concepts covered in the subsequent chapters of this book. The book considers the influence of Craig-Martin's artwork An Oak Tree as a starting point for considering the play within the frame of conceptual art. It moves on to look at Tim Crouch's collaborative methods of theatre-making. While the text of An Oak Tree bears Crouch's name, he always works closely with a number of collaborators in the process of creating any piece of theatre. The book considers how An Oak Tree exposes and interrogates conventions of theatrical representation. It explores the relationship between page and stage in An Oak Tree and the role of uncertainty and ambiguity in the script. Crouch wants the audience to realise that he has scripted praise of his own play, making a joke at the expense of his ego. He has described Craig-Martin's work as 'the most important piece of theatre writing I know'.
