Stephen J. Scott-Bottoms – författare

"Scrupulously researched, critically acute, and written with care, Playing Underground will become a classic account of an era of hard-won free expression." -William Coco "At last---a book documenting the beginnings of Off-Off Broadway theater. Playing Underground is an insightful, illuminating, and honest appraisal of this important period in American theater." -Rosalyn Drexler, author of Art Does (Not!) Exist and Occupational Hazard "An epic movie of an epic movement, Playing Underground is a book the world has waited for without knowing it. How precisely it captures the evolution of our revolution! I am amazed by the book''s scope and scale, and I bless its author especially for giving two greats, Paul Foster and H. M. Koutoukas, their proper, polar places, and for memorializing such unjustly forgotten masterpieces as Irene Fornes''s Molly''s Dream and Jeff Weiss''s A Funny Walk Home. Stephen Bottoms''s vivid evocation of the grand adventure of Off-Off Broadway has woken and broken my heart. It is difficult to believe that he was not there alongside me to breathe the caffeine-nicotine-alkaloid-steeped air." -Robert Patrick, author of Kennedy''s Children and Temple Slave Few books address the legendary age of 1960s off-off Broadway theater. Fortunately, Stephen Bottoms fills that gap with Playing Underground---the first comprehensive history of the roots of off-off Broadway. This is a theater whose legacy is still felt today: it was the launching pad for many leading contemporary theater artists, including Sam Shepard, Maria Irene Fornes, and others, and it was a pivotal influence on improv comedy and shows like Saturday Night Live. Off-off Broadway groups such as the Living Theatre, La Mama, and Caffe Cino captured the spirit of nontraditional theater with their edgy, unscripted, boundary-crossing subjects. Yet, as Bottoms discovers, there is no one set of truths about off-off Broadway to uncover; the entire scene was always more a matter of competing perceptions than a singular, concrete reality. No other author has managed to illuminate this shifting tableau as Bottoms does. Through interviews with dozens of the era''s leading playwrights, performers, directors, and critics, he unearths a countercultural theater movement that was both influential and transforming-yet ephemeral and quintessentially of its moment. Playing Underground will be a definitive work on the subject, offering a complete picture of an important but little-studied period in American theater.

"Scrupulously researched, critically acute, and written with care, Playing Underground will become a classic account of an era of hard-won free expression."-William Coco"At last---a book documenting the beginnings of Off-Off Broadway theater. Playing Underground is an insightful, illuminating, and honest appraisal of this important period in American theater."-Rosalyn Drexler, author of Art Does (Not!) Exist and Occupational Hazard"An epic movie of an epic movement, Playing Underground is a book the world has waited for without knowing it. How precisely it captures the evolution of our revolution! I am amazed by the book's scope and scale, and I bless its author especially for giving two greats, Paul Foster and H. M. Koutoukas, their proper, polar places, and for memorializing such unjustly forgotten masterpieces as Irene Fornes's Molly's Dream and Jeff Weiss's A Funny Walk Home. Stephen Bottoms's vivid evocation of the grand adventure of Off-Off Broadway has woken and broken my heart. It is difficult to believe that he was not there alongside me to breathe the caffeine-nicotine-alkaloid-steeped air."-Robert Patrick, author of Kennedy's Children and Temple SlaveFew books address the legendary age of 1960s off-off Broadway theater. Fortunately, Stephen Bottoms fills that gap with Playing Underground---the first comprehensive history of the roots of off-off Broadway. This is a theater whose legacy is still felt today: it was the launching pad for many leading contemporary theater artists, including Sam Shepard, Maria Irene Fornes, and others, and it was a pivotal influence on improv comedy and shows like Saturday Night Live.Off-off Broadway groups such as the Living Theatre, La Mama, and Caffe Cino captured the spirit of nontraditional theater with their edgy, unscripted, boundary-crossing subjects. Yet, as Bottoms discovers, there is no one set of truths about off-off Broadway to uncover; the entire scene was always more a matter of competing perceptions than a singular, concrete reality.No other author has managed to illuminate this shifting tableau as Bottoms does. Through interviews with dozens of the era's leading playwrights, performers, directors, and critics, he unearths a countercultural theater movement that was both influential and transforming-yet ephemeral and quintessentially of its moment.Playing Underground will be a definitive work on the subject, offering a complete picture of an important but little-studied period in American theater.

"Few books blend the critical and creative approaches to drag performance this provocatively and engagingly, and none provides both the historical and the personal perspectives so effectively. Torr and Bottoms fundamentally challenge many long-standing ideas about drag kings and the performance of masculinity."---Sarah Bay-Cheng, University at Buffalo"This book brings the reader inside an artist's creative imagination and intellect, showing us Diane Torr's work in a detailed, thoughtful, and engaging way. We discover how Torr uses different physical disciplines to explore how gender is constructed, interpreted, and expressed. Along the way---by taking us into various venues in which she performed---she evokes the lively, dynamic scene in New York in the '80s and '90s."---Alisa Solomon, Columbia UniversityWhy would women want to perform as men? Why is gender crossing so compelling, whether it happens onstage or in everyday life? What can drag performance teach, and what aesthetic, political, and personal questions does it raise? Performance artist Diane Torr has been experimenting with the performance of gender for thirty years---exploring everything from feminist go-go dancing to masculine power play. One of the key pioneers of "drag king" performance, Torr has been celebrated internationally for her gender transformation workshops, in which she has taught hundreds of ordinary women how to pass as men on city streets around the world. This cultural subterfuge appeals to participants for many different reasons: personal confidence-building, sexual frisson, gender subversion, trans-curiosity, or simply the appeal of disguise and role play. Sex, Drag, and Male Roles documents the evolution of Torr's work by blending first-person memoir and commentary from Torr with critical reflections and contextualization from leading performance critic Stephen J. Bottoms. The book includes a consideration of the long cultural history of female-to-male cross-dressing and concludes with Torr's "Do-It-Yourself" guide to becoming a "Man for a Day." Diane Torr developed her cross-disciplinary art in the downtown New York art scene from 1976 to 2002. Now living in Scotland, Torr has earned an international reputation for her performances and gender transformation workshops (featured on HBO, BBC, and This American Life on NPR, among others). Her work is the focus of a feature film, Man for a Day. Stephen J. Bottoms is Wole Soyinka Professor of Drama and Theatre Studies at the University of Leeds. His books include Playing Underground: A Critical History of the 1960s Off-Off-Broadway Movement and Small Acts of Repair: Performance, Ecology, and Goat Island.Cover: Diane Torr walks the streets of London, 1995. Photo by Debbie Humphreys.

Finalist: American Society for Theatre Research Barnard Hewitt Award for Outstanding Research in Theatre History | October 8, 2025Do you want to play a game?Incarceration Games reexamines the complex history and troubled legacy of improvised, interactive role-playing experiments. With particular attention to the notorious Stanford prison study, the author draws on extensive archival research and original interviews with many of those involved, to refocus attention on the in-game choices of the role-players themselves.Role-playing as we understand it today was initially developed in the 1930s as a therapeutic practice within the New York state penal system. This book excavates that history and traces the subsequent adoption of these methods for lab experimentation, during the postwar “stage production era” in American social psychology. It then examines the subsequent mutation of the Stanford experiment, in particular, into cultural myth—exploring the ways in which these distorted understandings have impacted on everything from reality TV formats to the “enhanced interrogation” of real-world terror suspects. Incarceration Games asks readers to reconsider what they thought they knew about this tangled history, and to look at it again from the role-player’s perspective.

Finalist: American Society for Theatre Research Barnard Hewitt Award for Outstanding Research in Theatre History | October 8, 2025Do you want to play a game?Incarceration Games reexamines the complex history and troubled legacy of improvised, interactive role-playing experiments. With particular attention to the notorious Stanford prison study, the author draws on extensive archival research and original interviews with many of those involved, to refocus attention on the in-game choices of the role-players themselves.Role-playing as we understand it today was initially developed in the 1930s as a therapeutic practice within the New York state penal system. This book excavates that history and traces the subsequent adoption of these methods for lab experimentation, during the postwar “stage production era” in American social psychology. It then examines the subsequent mutation of the Stanford experiment, in particular, into cultural myth—exploring the ways in which these distorted understandings have impacted on everything from reality TV formats to the “enhanced interrogation” of real-world terror suspects. Incarceration Games asks readers to reconsider what they thought they knew about this tangled history, and to look at it again from the role-player’s perspective.