11
Susan Wittig, «Toward a Semiotic Theory of the Drama», Educational Theatre Journal, No. 26 (December 1974), 452.
12
The Theater Experience (New York: McGraw-Hill, 1976), p. 141.
13
José Triana, La noche de los asesinos (La Habana: Casa de las Américas, 1965), p. 3. Hereafter, citations from this edition are incorporated in the text.
14
Wilson, The Theater Experience, p. 141.
15
The Empty Space (New York: Avon Books, 1969), p. 47.
16
The Theater Experience, p. 140.
17
Anne C. Murch also emphasizes that the children's games do not mean to unite them to any group or community, a purpose generally attributed to ritual. See her «Genet-Triana-Kopit: Ritual as "Danse Macabre"», Modern Drama, No. 15 (March 1973), 369-81. For a distinction between the terms ritual and routine in their application to drama, see Anthony Graham-White, «"Ritual" in Contemporary Theatre and Criticism», Educational Theatre Journal, No. 28 (October 1976), 318-24.
18
The Art of Dramatic Art, pp. 67-68.
19
The Poetics of Space, trans. Maria Jolas (Boston: Beacon Press, 1964), pp. 17-18.
20
Herbert Blau, while not defending the proscenium stage per se, points out its viability even in today's experimental theatre and makes a convincing case for its use in The Balcony. See The Impossible Theater: A Manifesto (New York: Collier Books, 1965), pp. 13-14.