Abstract
As a boy growing up in Newark, New Jersey, in the 1930s and 1940s, Richard Schechner found he had a thing for fire. He talks about imagining houses going up in flames (most likely, he says, sparked by news of the War) and standing in the basement of his home, staring into the oil-burner furnace, lost in the fantasy that the whole world – except him – was burning. His inferno fascination escalated to the point where he and a friend actually set a fire in an abandoned lot. His friend ran away, but Richard just stood and watched. Stood and watched until the fire trucks came to put it out. Until he was caught. The punishment? He had to do service hours at a firehouse to learn fire safety. What he learned instead was that firefighters loved fire every bit as much as he did – except of course their work was to put them out.1
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Notes
2. Richard Schechner, “Who’s Afraid of Edward Albee?” Tulane Drama Review 7.3 (1963): 9.
4. Richard Schechner, “Intentions, Problems, Proposals,” Tulane Drama Review 7. 4 (1963): 17.
6. Richard Schechner, “Performance Studies: The Broad Spectrum Approach,” TDR 32.3(1988): 6.
9. Richard Schechner, “The Bacchae: A City Sacrificed to a Jealous God,” Tulane Drama Review 5.4 (1961): 124–34.
10. See Richard Schechner, “Once More, with Feeling,” TDR 30.1(1986): 4–8, and personal video interview with author, 2008.
12. Richard Schechner, “Performance and the Social Sciences: Introduction,” TDR 17.3 (1973): 3.
18. Brown University, n.d. Theatre Arts and Performance Studies. http://www.brown.edu/Departments/Theatre_Speech_Dance/people/schneider.html (accessed 22 January 2010).
19. Rabih Mroue, Letter to TDR, 26 July 2008.
20. Mark Russell, Letter to TDR, 8 July 2008.
21. Tracy C. Davis, Letter to TDR, 30 June 2008.
22. Richard Schechner, “Twilight of the Gods,” Tulane Drama Review 9.2 (1964): 15.
23. Richard Schechner, “Stanislavski at School,” Tulane Drama Review 9.2 (1964): 198.
24. Richard Schechner, “The College Connection,” TDR 31.4 (1987): 7.
26. Richard Schechner, “Transforming Theatre Departments,” TDR 39, 2 (1995): 8.
27. Richard Schechner, Performance Studies: An Introduction, 2nd edn. New York: Routledge, 2006, 1.
30. Cindy Rosenthal, “The Free Southern Theater: Historical Overview,” Restaging the Sixties, ed. James M. Harding and Cindy Rosenthal. Ann Arbor: University of Michigan Press, 2006, 263.
32. Richard Schechner, “Dialogue: The Free Southern Theatre,” Tulane Drama Review 9, 4 (T28) (1965): 63–76.
33. Richard Schechner, “White on Black.” TDR 12, 4(T40) (1968): 25–7.
35. Jon MacKenzie, “Is Performance Studies Imperialist,” TDR 50.4 (2006): 5–8.
36. Janelle Reinelt, “Is Performance Studies Imperialist? Part 2,” TDR 51.3 (2007): 7–16.
37. Richard Schechner, et. al., “Is Performance Studies Imperialist? Part 3: A Forum,” TDR 51, 4 (2007): 7–23.
38. Richard Schechner, “Plagiarism, Greed, and the Dumbing Down of Performance Studies,” TDR 53.1 (2009): 9.
39. Deb Margolin, “O Yes I Will (I will remember the spirit and texture of this conversation),” TDR 52.3 (2008): 185.
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© 2011 Mariellen R. Sandford
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Sandford, M.R. (2011). Fanning the Flames: Richard Schechner’s TDR. In: Harding, J.M., Rosenthal, C. (eds) The Rise of Performance Studies. Studies in International Performance. Palgrave Macmillan, London. https://doi.org/10.1057/9780230306059_10
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