ABSTRACT
This introduction presents an overview of key concepts discussed in the subsequent chapters of this book. The book investigates whether surrealist theatre exists or not is neither rhetorical nor self-explanatory. The theatre has not received the attention it deserves within Surrealisma movement which officially traces its roots to 1924 in France, and which advocated the absolute freedom of human beings, the omnipotence of dreams, and the pursuit of the marvelous. It is easy to attribute the dismissal of surrealist theatre to its "failure" as a theatrical genre. A reconsideration of surrealist theatre would not only challenge the idea about its mimetic character, but also demystify Andr Breton's controversial attitude toward theatre. Discovering a cfrom their so-called dialogue games, Surrealists soon used them to learn about and put into motion the mechanisms of the psyche.
