ABSTRACT
The prevalent drive of New Theater was to declare the continuity in space between stage and house, to disrupt the division between the place for acting and spectating. In place of static theater halls with fixed seats, audiences gathered in studios, for performance actions and installations. The construction of new types of space for theater, in order to purify it of its stagnant cultural stratifications, took diverse forms: rites of initiation, protected spaces, and experience-as-process. The use of cinematic and video images projected on monitors introduced other spaces and times, doubling and mirroring what took place on the stage. The light and geometric designs were the protagonists of the script, dynamic vectors that scoured and measured the space. The space was analytically measured and laid out on a horizontal plane, like many minimalist sculptures. The analytic space was transformed into a place of obsessive disarticulation provoked by repeated movements, gestures, sounds, and chromatic-luminous material.
