Eynat-Confino goes beyond the usual consideration of Craig s purported theories of the actor, scenery, and the scene painter to get at the heart of Craig s idea of theater.

She draws not only on the research of contemporary Craig scholars but on material hitherto unavailablehis writings and daybooks and the writings of friends. She ties Craig s encounter with Isadora Duncan to a decisive modification in his notion of movement. To have an instrument more controllable than the actor, he invented the uber-marionette, a giant puppet. Craig also invented the Scene, a kinetic stage, the...