ABSTRACT
Studying activist plays provides a productive way to explore the hybridization of art and politics. Drama scholar Marvin Carlson (2006) has explained that, in the case of American theater, at least from 1945 on, politicized theater troupes have presented their work in nontraditional or nonconventional spaces. He adds that, between the 1950s and the 1980s, the terms “environmental” and then “sitespecific theater” were attached to this type of theater. These plays were performed in sites that were symbolically or historically linked with persons or events celebrated by specific productions. One dramaturgical claim was also to get the audience involved within the process of the performance itself.
