ABSTRACT
Richard Foreman is constantly attempting in his work to open up new ways of seeing and to encourage fresh perceptions of reality in his audiences. In much of Foreman's work there is a definite change of pace and tone that tends to happen within the last few minutes of the piece. Foreman had first produced work for the Parisian stage ten years earlier in 1973, and throughout that period, as he shuttled back and forth across the Atlantic, making work on two continents, his love for the city had remained intense. Foreman responded to Acker's writing, not just because in form and content it was so very closely related to his own, but precisely because she also brought something very different and distinctive to the material. Although Foreman would return to the city the following year to direct Ma Vie, Ma Mort, the 'awkward, ugly American', as he once described himself, was heading back to his roots.
