A LT H O U G H J O A N L I T T L E W O O D H A S refrained from producingworks of theory, as many other directors have done, that does not mean that there is no theory behind her work. Angela Hurwicz, when asked if Brecht had spoken much about theory during rehearsals, said not at all.1 Kurt Jooss was once asked how much theory Laban referred to in rehearsals. He said none.2 Whatever is set out in print is only relevant if it refers directly to what happens on the stage, which is the sole place of arbitration. Peter Brook has written a great deal on his views of theatre, but it contains a large proportion of rhetoric. This can be, and often has been, inspiring for the reader, but it does not always give any clear inkling as to how Brook works in rehearsal.3 To discover that, it is probably more valuable to refer to the testimony and anecdotes of his actors.