The articles in this issue are concerned with the analysis and theory of theatre performance. Little more than a generation ago, theatrical performance scholarship was an oxymoron and theatre history was concerned only with the description and chronology of performance rather than its theory or analysis. Theories of performance by directors and other artists occupied a nebulous territory between the aesthetics of genre and the anecdotal. Meanwhile books on theatre craft existed alongside theatre histories and anthologies of ‘drama’, with each treated as if it were an independent realm. Anthologies introduced plays as literary texts to be interpreted and contextualized, and the printed play alone was recognized as a legitimate object of inquiry. Performance was too ephemeral to be a proper artefact, much less a proper text. Yet for traditional literary scholars, even the printed play was not a truly primary text; instead, the source of the play was always located elsewhere, in a more authoritative and more academically institutionalized discourse. The play was only an example or concretization of another discourse: biographical, philosophical, theological, psychological, or historical. To be sure, performance descriptions were sometimes given in anthologies, and in the case of canonized writers like Shakespeare or Ibsen, even performance histories could be found. But performance analysis and theory only appeared if the playwright had also published it, as did Strindberg or Brecht, or if a recognized movement had claimed the playwright as one of its own, as with naturalism, expressionism or Theatre of the Absurd.

This situation was understandable considering that theatre studies had once been housed within departments of literature.