Bonnie Marranca is cofounder and editor/publisher of the Obie Award–winning PAJ Publications and PAJ: A Journal of Performance and Art. She has published four volumes of essays: Timelines: Writings and Conversations; Performance Histories; Ecologies of Theatre; and Theatrewritings. She has also edited several collections of plays, essays, and interviews, including Conversations with Meredith Monk; Alchemies of Theater: The Plays, Performance Scores, and Writings of Dick Higgins; The Sun on the Tongue: Etel Adnan; and Plays for the End of the Century.Daniel Sack is the author of three books: Cue Tears: On the Act of Crying; After Live: Possibility, Potentiality, and the Future of Performance; and Samuel Beckett’s Krapp’s Last Tape. He is the editor of the award-winning collection Imagined Theatres: Writing for a Theoretical Stage and the founding editor of the online journal Imagined Theatres. His essays on contemporary international performance have been published in books and journals, including Theatre Journal, Theater magazine, and PAJ: A Journal of Performance and Art.

“An unexpectedly moving volume, in which visual lightness is anchored by emotional weight. Julie Mehretu’s 'mind breath' sketches, Laurie Anderson’s chalky smears, Trisha Brown’s wobbly, fragile lines: these and other drawings disclose the eloquent 'hesitations of the thinking body,' as Ann Hamilton calls them. Other pages compel attention by the artists’ fierce concentration, their determination to save ideas before they disappear. Throughout (as Joan Jonas says in a sentence that could apply to this whole, beautiful book), 'drawing…does draw you in.' ”—Marc Robinson, Yale University, author of American Performance in 1976“A thrilling selection and wide-ranging survey of artists utilizing drawing as a mode of visual thinking and conceptualization for theatre performance and dance-related works.”—Ann Butler, Director of Library and Archives, Center for Curatorial Studies, Bard College"The Theatre of Drawing is an extraordinary book showing drawing as a way to think, drawing as memory, which captures the process of thinking and living."—Hans Ulrich Obrist, artistic director, Serpentine, and author of The Interview Project

• Preface:The Afterlife of DrawingBy Bonnie MarrancaFields of CompositionAnnie-B Parson: Stuff—The EndRichard Foreman: Getting a HandlePeter Schumann: The Stations of the CrossMeredith Monk: Drawing Time and SpaceRobert Wilson: The Threepenny Opera DrawingsRalph Lemon: UntitledCathy Weis: What’s My Line?Jibz Cameron: Gratification Now!Karinne Keithley Syers: Free FindingSuzanne Lacy: Drawings from a Seven-Day MeditationHow It WorksJay Scheib: Becoming Something ElseCarolee Schneemann: Drawing as a Venous SystemElizabeth LeCompte: Notebook DrawingsElizabeth Streb: The Methodology for Choreographing Extreme ActionJohn Zorn: Theatre of Musical OpticsRobert Whitman: Sketches for American MoonLin Hixson: The Place of DrawingJudith Malina: Antigone NotebookOkwui Okpokwasili and Peter Born: Process NotationAlexandro Segade: How to Share an ImaginationJon Kinzel: PortableInvent a ScoreJohn Cage: Ryoanji—Solos for Oboe, Flute, Contrabass, Voice, Trombone with Percussion or Orchestral ObbligatoDick Higgins: GraphisLucinda Childs: Melody ExcerptRaven Chacon: For Zitkála-ŠáWilliam Hellermann: Visible MusicAki Sasamoto: Diagrams in PerformanceAlison Knowles: Fluxus Long WeekendMadeline Hollander: Hydro Parade Notations and ScoresJeffrey Lependorf: Two for ShakuhachiKen Friedman: Graven with an Iron Pen?Intimacies of the LineJoan Jonas: Drawing My Way InTrisha Brown: Geneva, HandfallAnn Hamilton: The Event of a ThreadGyun Hur: Drawing as WitnessKelly Copper: Life DrawingsLaurie Anderson: Drawings from DelusionJulie Mehretu: Notation after The RingGeorge Quasha: Axial DrawingTony Orrico: Voyage of the TransferMina Nishimura: Scribbles Becoming Portals—Maps to NowhereClifford Owens: Pocket Paper

Bonnie Marranca is cofounder and editor/publisher of the Obie Award–winning PAJ Publications and PAJ: A Journal of Performance and Art. She has published four volumes of essays: Timelines: Writings and Conversations; Performance Histories; Ecologies of Theatre; and Theatrewritings. She has also edited several collections of plays, essays, and interviews, including Conversations with Meredith Monk; Alchemies of Theater: The Plays, Performance Scores, and Writings of Dick Higgins; The Sun on the Tongue: Etel Adnan; and Plays for the End of the Century.Daniel Sack is the author of three books: Cue Tears: On the Act of Crying; After Live: Possibility, Potentiality, and the Future of Performance; and Samuel Beckett’s Krapp’s Last Tape. He is the editor of the award-winning collection Imagined Theatres: Writing for a Theoretical Stage and the founding editor of the online journal Imagined Theatres. His essays on contemporary international performance have been published in books and journals, including Theatre Journal, Theater magazine, and PAJ: A Journal of Performance and Art.

“An unexpectedly moving volume, in which visual lightness is anchored by emotional weight. Julie Mehretu’s 'mind breath' sketches, Laurie Anderson’s chalky smears, Trisha Brown’s wobbly, fragile lines: these and other drawings disclose the eloquent 'hesitations of the thinking body,' as Ann Hamilton calls them. Other pages compel attention by the artists’ fierce concentration, their determination to save ideas before they disappear. Throughout (as Joan Jonas says in a sentence that could apply to this whole, beautiful book), 'drawing…does draw you in.' ”—Marc Robinson, Yale University, author of American Performance in 1976“A thrilling selection and wide-ranging survey of artists utilizing drawing as a mode of visual thinking and conceptualization for theatre performance and dance-related works.”—Ann Butler, Director of Library and Archives, Center for Curatorial Studies, Bard College"The Theatre of Drawing is an extraordinary book showing drawing as a way to think, drawing as memory, which captures the process of thinking and living."—Hans Ulrich Obrist, artistic director, Serpentine, and author of The Interview Project

• Preface:The Afterlife of DrawingBy Bonnie MarrancaFields of CompositionAnnie-B Parson: Stuff—The EndRichard Foreman: Getting a HandlePeter Schumann: The Stations of the CrossMeredith Monk: Drawing Time and SpaceRobert Wilson: The Threepenny Opera DrawingsRalph Lemon: UntitledCathy Weis: What’s My Line?Jibz Cameron: Gratification Now!Karinne Keithley Syers: Free FindingSuzanne Lacy: Drawings from a Seven-Day MeditationHow It WorksJay Scheib: Becoming Something ElseCarolee Schneemann: Drawing as a Venous SystemElizabeth LeCompte: Notebook DrawingsElizabeth Streb: The Methodology for Choreographing Extreme ActionJohn Zorn: Theatre of Musical OpticsRobert Whitman: Sketches for American MoonLin Hixson: The Place of DrawingJudith Malina: Antigone NotebookOkwui Okpokwasili and Peter Born: Process NotationAlexandro Segade: How to Share an ImaginationJon Kinzel: PortableInvent a ScoreJohn Cage: Ryoanji—Solos for Oboe, Flute, Contrabass, Voice, Trombone with Percussion or Orchestral ObbligatoDick Higgins: GraphisLucinda Childs: Melody ExcerptRaven Chacon: For Zitkála-ŠáWilliam Hellermann: Visible MusicAki Sasamoto: Diagrams in PerformanceAlison Knowles: Fluxus Long WeekendMadeline Hollander: Hydro Parade Notations and ScoresJeffrey Lependorf: Two for ShakuhachiKen Friedman: Graven with an Iron Pen?Intimacies of the LineJoan Jonas: Drawing My Way InTrisha Brown: Geneva, HandfallAnn Hamilton: The Event of a ThreadGyun Hur: Drawing as WitnessKelly Copper: Life DrawingsLaurie Anderson: Drawings from DelusionJulie Mehretu: Notation after The RingGeorge Quasha: Axial DrawingTony Orrico: Voyage of the TransferMina Nishimura: Scribbles Becoming Portals—Maps to NowhereClifford Owens: Pocket Paper