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The experimental composer John Cage (1912-1992) is best known for his works in percussion, prepared piano and electronic music, but he is also acknowledged to be one of the most significant figures in 20th century theatre. In Cage’s theatre composition there is a blurring of the distinctions between music, dance, literature, art and everyday life. Here, William Fetterman examines the majority of those compositions by Cage which are audial as well as visual in content, beginning with his first work in this genre in 1952 and continuing through to 1992. Information for this study has come from material discovered among the unpublished scores and notes of Cage and his frequent collaborator David Tudor, as well as the author’s interviews with Cage and individuals associated with his work, including Merce Cunningham, Bonnie Bird, Caroline Richards, and Ellsworth Snyder. The book also contains notation and illustrations of performances of Cage’s work.
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