Quotes from Richard Foreman’s “The Manifestos and Essays”




3.)  the new possibility (what distorts with its weight) – a subtle insertion between logic and accident, which keeps the mind alive as it evades over-quick integration into the mental system.  CHOOSE THIS ALWAYS!  (4)


Art is not beauty of description or depth of emotion, it is making a machine, not to do something to audience, but that makes itself run on new fuel.  (11)

I want to be seized by the elusive, unexpected aliveness of the moment.   (12)

surprised by

a freshness

of moment that eludes

                                constantly refreshes.  You got toward it

and can’t seize it?  (12)


by letting moment disintegrate it, as no assertion

really true in the face of the elusive now, the real

moment, which in its bottomlessness turns what it holds

into the bottomless anti-matter of what is itself  (12)



                That EFFORT.   (13)


“a new cadence means a new idea”  (13)


I have evolved a style that shows how it is now with us, in consciousness…I show the mind at work moment-by-moment.  (21) 


Most everybody thinks in inherited abstractions, idols (Fred, the sky, the trees, Wanda’s desires, Ralph’s personality, love, hate, etc.) so of course the


of my theater seems to be unreal to most people.  (21)


ART technique has generally been a means whereby the spectator

Is besieged

by the most obvious possible content available in the

fIeld of the work at a given moment.

                Result – he is so busy receiving (into his

                      Mechanism) that gross data


                                (he has to swallow it)


that he has not the chance to NOTICE

to go “visiting”

to “reconnoiter”

to “wake up and explore” the world before him (the

                field of the art work.)   (25)


Gertrude Stein says the problem

with theater has always been

the spectator is either a little

before or after his own

time in watching, not exactly

matching the play’s time.  That’s

because pre-Steinian theater

didn’t have the technique

required to make the richness

and density be IN the moment,

but always asked the spectator

to THINK the implications of

the presented moment in terms

of the past and future moment.

Replacing narrative with process-

concerns is a way of dealing

with this problem.  (31)

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