| Preface | |
| Prologue | |
| From The Free Theatre (1890) | |
| From Of the Uselessness to Theatre of the Theatre (1896) | p. 11 |
| From A New Art-Material (c. 1902) | p. 14 |
| From How to Reform Our Staging Practices (1904) | p. 15 |
| From Rearrangements (1915) | p. 17 |
| From The Futurist Synthetic Theatre (1915) | p. 19 |
| From Futurist Scenography (1915) | p. 23 |
| Speech from The First Celestial Adventure of Mr Antipyrine (1916) | p. 25 |
| The Secret of the Handkerchief of Clouds (1925) | p. 26 |
| From Prologue to The Breasts of Tiresias (1917) | p. 28 |
| The Task of Drama (1920) | p. 31 |
| From I am a Witch (1950) | p. 33 |
| From On a New Type of Play (1920) | p. 35 |
| Preface to Methusalem or The Eternal Bourgeois (1922) | p. 38 |
| From The Painter on the Stage Progresses Towards Architecture (1922) | p. 40 |
| From On the Pure Elements of the Actor's Art (1923) | p. 42 |
| From New Stage Forms (1928) | p. 46 |
| The Oberiu Theatre (1928) | p. 48 |
| From Plays (1935) | p. 51 |
| Notes on the Theatre (1953) | p. 53 |
| From Events (1966) | p. 56 |
| From Speech Introducing Freud (1969) | p. 59 |
| From Impossible Theatre (1972) | p. 63 |
| From Elementary School of Theatre (1986) | p. 65 |
| From Unbalancing Acts (1992) | p. 68 |
| From Preface to Mrs Warren's Profession (1902) | p. 83 |
| From A Personal Statement (1926) | p. 87 |
| From The Montage of Attractions (1923) | p. 88 |
| From The Montage of Film Attractions: The Model Actor (1924) | p. 91 |
| From Post-war German Drama (1928) | p. 95 |
| From The Reconstruction of the Theatre (1929) | p. 98 |
| From Basic Principles of a Theory of Sociological Drama (1929) | p. 102 |
| From The Documentary Play (1929) | p. 104 |
| 'Agit-Prop' Style (1932) | p. 108 |
| Prologue to The Exception and the Rule (1930) | p. 110 |
| From Notes on the Opera Rise and Fall of the City of Mahagonny (1930) | p. 111 |
| From Theatre for Pleasure or Theatre for Instruction (c. 1935) | p. 112 |
| From Alienation Effects in Chinese Acting: The A-Effect (1936) | p. 114 |
| The Coat (From Notebooks 1960/1977) | p. 118 |
| From Meetings with the Theatre du Soleil (1974) | p. 123 |
| Womanhouse - Performances (1975) | p. 128 |
| Aller a la mer (1977) | p. 133 |
| Art in the Dark: A Letter to Artforum (1983) | p. 136 |
| From Feminist Media Strategies for Political Performance (1985) | p. 139 |
| From Commentary on The War Plays (1991) | p. 144 |
| Opinions | p. 148 |
| From One Word about the Theatre as it was, as it is, and as it will be (1905) | p. 161 |
| Recollections (1934) | p. 163 |
| From The Fairground Booth (1911-12) | p. 165 |
| From A People's Theatre: A Letter to Lady Gregory (1919) | p. 169 |
| From The Variety Theatre (1913) | p. 171 |
| From Open Letter to the Workers (1917) | p. 175 |
| From Prologue to Mystery-Bouffe (2nd version, 1922) | p. 176 |
| From AB: Parade of the Eccentric (1922) | p. 178 |
| Simple Advice to Participants (1925) | p. 181 |
| From The Reconstruction of the Theatre (1929) | p. 184 |
| From Compulsory Theatre | p. 186 |
| From The Popular and the Realistic (1938) | p. 188 |
| The T.N.P. - Public Service (1953) | p. 193 |
| Response of the Road-Sweepers (1962) | p. 194 |
| From Problems Concerning Puppetry and Folk Music and Folk Art in the Light of God and McNamara (1966) | p. 196 |
| From Drama as a Process for Change (1976) | p. 195 |
| From Material for Significance (1980) | p. 201 |
| From Retrieving the Past, Exposing the Present (1978) | p. 204 |
| From A Good Night Out (1981) | p. 209 |
| The Workshop of Popular Creation (1983-5) | p. 214 |
| From How Welfare State's Events are Commissioned, Conceived and Carried Out (1983) | p. 216 |
| From Notting Hill Carnival: 'De Road is de Stage de Stage is de Road' (1986) | p. 220 |
| A Remainder: Prefatory Note to A Dream Play (1902) | p. 235 |
| From How to Reform Our Staging Practices (1904) | p. 237 |
| Study for Movement (1906-13) | p. 240 |
| From The Artists of the Theatre of the Future (1907) | p. 241 |
| From The Stylised Theatre (1907) | p. 243 |
| From Light and the Dance (1908) | p. 245 |
| Depth | p. 248 |
| From On Stage Composition (1911-12) | p. 250 |
| From Inner Impulses and Inner Action; Creative Objectives (1916-20) | p. 253 |
| From The Inspired and the Psychological Being (1918) | p. 258 |
| From Stenogramme of Two Discussions between Vakhtangov and His Students (1922) | p. 260 |
| From Play and Theory of the Duende (1930) | p. 263 |
| Letter to Comaedia (1932) | p. 266 |
| From The Theatre of Cruelty (First Manifesto) (1932) | p. 268 |
| From An Affective Athleticism (1935) | p. 272 |
| Notes on a Ritual Tragedy (1952) | p. 275 |
| Methodical Exploration (1967) | p. 277 |
| From The Knowing Body (1986) | p. 281 |
| From Rachel's Brain (1991) | p. 286 |
| From On the Balinese Theatre (1931) | p. 300 |
| From Alienation Effects in Chinese Acting (1936) | p. 303 |
| From Theatre and Culture (1970) | p. 306 |
| From The Emergence of a National Drama in the West Indies (1972) | p. 311 |
| Notes on Chicano Theater (1972) | p. 315 |
| From The World as a Can Opener (1973) | p. 320 |
| From Drama and the African World View (1976) | p. 323 |
| Unrecovered losses/black theatre traditions (1979) | p. 327 |
| From Sistren: Jamaican Women's Theatre (1981) | p. 331 |
| From The Theatre of the Oppressed in Europe: Forum Theatre (1983) | p. 335 |
| From The place of Crime, the place of Pardon (1986-7) | p. 340 |
| Eurasian Theatre (1988) | p. 345 |
| The Border as Performance Laboratory (1991) | p. 351 |
| Sources and further writings | p. 355 |
| Acknowledgements | p. 368 |
| Index | p. 375 |
| Table of Contents provided by Blackwell. All Rights Reserved. |