ABSTRACT
WHETHER OR NOT READERS AGREE with Handke's conclusions, his manifesto-like essay vividly sets up two of the major questions of this collection: Is theatre in the street intrinsically different from theatre in theatre buildings? And, how does radical street theatre performed by non-actors inform that which is performed by professional actors? Writing in the 1960s, Handke captures the highly polarized spirit of that time in the US and Europe when street theatre burst upon the scene and many of us practitioners, though inspired by Brecht, sought a more direct form of theatrical activism.
