Electoral Guerrilla theatre: radical ridicule and social movements

Pursued by a Bear) both of which have “remained solvent while producing critically acclaimed work in New York.” These graduate companies have materialized, so Zazzali argues, directly out of evolving pedagogies at the leading US university programmes. PigPen for instance developed out of “Carnegie’s Playground [my italics], a practice that continues today with classes being suspended for a week, as the department’s facilities are made available to students for devising independent projects” (p. 165). This kind of entrepreneurialism is indeed becoming relatively common in Britain too, with graduate companies such as Mischief Theatre (made up largely of LAMDA and RBC graduates) and their highly successful West End franchise, beginning with The Play That Goes Wrong. Zazzali’s thesis (summarized in this quote from p. 159):