Nothing rattles the caged nostalgia within a seasoned actor like asking them about their thoughts regarding experimental theatre. At first I thought what they were really nostalgic for was their youth, a time when they were fearless enough to attach their name and career to a bold new play at a daring off-Broadway theatre. There is nothing unique about being nostalgic for your younger days, even young adults reminisce back to when they were teens. Only one problem though, what the actors are really nostalgic for is the creative freedom and artistic liberation that comes from experimental theatre.
Experimental theatre in essence allows actors and playwrights alike to liberate their imaginations from the restrictions imposed by the CVs. Traditional theatre restricts in other forms too, it requires certain components such as forward-moving plot and established patterns. Sometimes innovations in the format or the plot of a play can release the audience from their inhibitions and allow them to connect to the play in a pataphysical way. Beyond the physical and the metaphysical, is the pataphysical, the imaginary. In a way non-traditional theatre is an emancipation of the imagination for everybody involved, the playwright, the director, the actors, and the audience. Experimental theatre wherever it may be located is an adventure that rewards more than it requires; it doesn’t always answer questions, but the questions it raises are worth the time.