ABSTRACT
Until the emergence of the Network of Ensemble Theaters (NET), ensembles spread across the United States had no collective identity. This was the mid-1990s, a time when the general field of theater considered the ensemble form to be a somewhat aberrant organizational structure, admired in theory and practiced in modern-day Europe, perhaps, but of no significant artistic value to theater-making in the US. At best, we were seen as an odd assortment of successes, spread out here and there, but certainly no one had connected the dots to reveal a movement taking shape.
