Mike Kelley

THOUGH GUY DE COINTET was still alive when I moved to Los Angeles in 1976, I never met him, nor did I see any of his theatrical productions until after his death. These works were not performed often, so it’s not so surprising that I missed them even though I was living in the same city. Yet I was a fan of his work based on the little I did come across, like the script for his play Tell Me, 1979, which appeared in an arts journal accompanied by photographs of its recent production. Much of my own performance work at the time was made in response to such written accounts of live events, rather than to personal experience. The same could be said of my appreciation for the early work of Robert Wilson and the plays of Richard Foreman, both of which were unavailable to me (and which, I would argue, share some characteristics with the work of Cointet).

I did see some of Cointet’s drawings in

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