Cristina De Simone catapults the collection into a twentieth century of avant-garde experimentation and the radical revision of what might constitute theatre. Focusing on the post-war period, De Simone describes how ‘action poetry’ and ‘performance poetry’, inspired by the historical avant-garde of the start of the century, positioned orality, namely the physical act of utterance, centre-stage. Artists including Artaud; non-professional actors such as Colette Thomas with whom he worked; movements such as the Lettrists founded by Isidore Isou; and events such as the Domaine Poétique evenings staged by poets such as Bernard Heidsieck, Henri Chopin, François Dufrêne and Brion Gysin had, until the 2010s, been relegated to historical oblivion. Now rehabilitated, they are considered, argues De Simone, as foundational figures and moments in modern and contemporary research-led experimental performance into the voice, the body and language.