ABSTRACT
For the editor, Sidney Homan, theatre justifies itself, in a way rewards us, by moving offstage and into our real world. In “I Am Thrilled by an Impure Theatre,” he tells of a tour of Florida prisons with Waiting for Godot where the inmates insisted on being part of the performance. Of an elderly couple who wove their own horrendous life in a Nazi concentration camp into a performance of Ionesco’s Rhinoceros. And of his own experience as an actor in Fredric Rzewski’s Coming Together where he “lost” himself in the role, forgetting he was onstage as he delivered lines from the diary of an inmate who had died in the Attica Prison riots.
