Herbert Blau was the most influential theater theorist, practitioner, and educator of his generation. He was Distinguished Professor of English and Comparative Literature at the University of Wisconsin-Milwaukee. After many years in the theater, where he was particularly well known for his innovative work as a director, he also gained an international reputation for his theoretical writings on performance and postmodern culture.

Review of the first publication:‘…To All Appearances raises a number of important questions, for both theatrical practice and cultural theory.’— Julie Adam, Border/Lines

• Foreword 1. Statutes of limitations 2. The theatrical fact 3. The surpassing body 4. Distressed emotion 5. The struggle to appear

Herbert Blau was the most influential theater theorist, practitioner, and educator of his generation. He was Distinguished Professor of English and Comparative Literature at the University of Wisconsin-Milwaukee. After many years in the theater, where he was particularly well known for his innovative work as a director, he also gained an international reputation for his theoretical writings on performance and postmodern culture.

Review of the first publication:‘…To All Appearances raises a number of important questions, for both theatrical practice and cultural theory.’— Julie Adam, Border/Lines

• Foreword 1. Statutes of limitations 2. The theatrical fact 3. The surpassing body 4. Distressed emotion 5. The struggle to appear

Herbert Blau was the most influential theater theorist, practitioner, and educator of his generation. He was Distinguished Professor of English and Comparative Literature at the University of Wisconsin-Milwaukee. After many years in the theater, where he was particularly well known for his innovative work as a director, he also gained an international reputation for his theoretical writings on performance and postmodern culture.

Review of the first publication:‘…To All Appearances raises a number of important questions, for both theatrical practice and cultural theory.’— Julie Adam, Border/Lines

• Foreword 1. Statutes of limitations 2. The theatrical fact 3. The surpassing body 4. Distressed emotion 5. The struggle to appear