Living Theatre, The

Living Theatre, The
Theatrical avant-garde repertory company.

It was formed in New York City in 1947 by Julian Beck (1925–85) and Judith Malina (b. 1926) to produce experimental plays, often on radical themes. Its first big success was Jack Gelber's The Connection (1959), a drama of drug addiction. Its next, Kenneth Brown's The Brig (1963), depicted military discipline as dehumanizing. After problems with U.S. tax authorities, the company was relocated to Europe (1965–68). It returned to New York City to present the confrontational Paradise Now (1968), a production intended to spark revolution. The group dispersed in 1970.

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▪ American theatrical company
      theatrical repertory company founded in New York City in 1947 by Julian Beck and Judith Malina. It is known for its innovative production of experimental drama, often on radical themes, and for its confrontations with tradition, authority, and sometimes audiences.

      The group struggled during the 1950s, producing little-known, new, and experimental plays by such writers as Gertrude Stein (Stein, Gertrude), Luigi Pirandello (Pirandello, Luigi), Alfred Jarry (Jarry, Alfred), T.S. Eliot (Eliot, T.S.), and others. Its first big success came with its 1959 production of The Connection, Jack Gelber (Gelber, Jack)'s drama of drug addiction. In 1961 the company made a successful tour of Europe with The Connection and with plays by Bertolt Brecht (Brecht, Bertolt) and William Carlos Williams (Williams, William Carlos).

      On returning to New York City, the political views of the members of the troupe—nonviolent protest and anarchism—came to the fore in their work. In 1963 they produced Kenneth H. Brown's The Brig, a play that depicted military discipline as dehumanizing. The U.S. Internal Revenue Service demanded payment of a large sum in admissions taxes that the constantly impoverished group had collected and had used to pay production costs while vainly seeking tax-exempt status. Beck and Malina were tried and convicted of tax law violation and jailed briefly, and The Living Theatre was closed.

      In 1964 the company took up “voluntary exile” in Europe. Now influenced by Oriental mysticism, gestalt therapy techniques, and an Artaudian desire to abolish the distinction between art and life, The Living Theatre moved toward deliberately shocking and confronting its audiences in such works as Paradise Now (1968), in which the actors performed rituals, provoked arguments, and carried on until members of the audience left. A collaborative play cycle entitled The Legacy of Cain was the focus of The Living Theatre's performances in the 1970s. For this work, they shunned the usual theatrical venues, instead performing for free in public spaces and in such unusual places as the site of a Pittsburgh steel mill, a Brazilian prison, and the streets of Palermo, Italy. The company took up the theatre venue again in the 1980s, while continuing to emphasize the unusual and innovative in its performances, including The Body of God, a collective collaboration with homeless people. Cofounder Beck died in 1985 and was replaced as codirector by Hanon Reznikov, a longtime veteran of the troupe. After 1999 the company divided its time between New York City and its European headquarters near Genoa, Italy.

Additional Reading
John Tytell, The Living Theatre: Art, Exile, and Outrage (1995); and Pierre Biner, The Living Theatre (1972; originally published in French, 1969), are histories of the company. The personal views of the group's cofounders can be found in Julian Beck, The Life of the Theatre: The Relation of the Artist to the Struggle of the People (1972, reprinted 1991); and Judith Malina, The Enormous Despair (1972), The Diaries: Brazil, 1970, Bologna, 1977 (1979), and The Diaries of Judith Malina, 1947–1957 (1984).

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Universalium. 2010.

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