ABSTRACT
This chapter examines the theory behind Richard Foreman's plays and explore the aims and intentions of this form of theatre-making. It explains many elements within Foreman's work anticipate what Hans-Thies Lehmann has since dubbed 'postdramatic' theatre. If students and practitioners are to engage effectively with Foreman's work, it must be through making creative connections with the dialogue: that is the key to his whole approach to theatre-making. The task of any creative interpreter of Foreman's work is therefore to have new and very personal responses to the language. The central thesis is that the old art aimed to focus a spectator's attention on 'the right thing' at the right time and in the right order, but for Foreman this way of thinking about theatre makes no sense; it is 'ridiculous' and 'absurd'. Foreman then compares this general tendency to recollect highlighted 'moments' with his own experiences of watching theatre.
