Abstract
At first glance the title of this essay may cause you to ask yourself the same question: "What does chaos theory have to do with art?" Or, more importantly, what does it have to do with performance analysis? Certainly, these are fair questions which will be addressed within the body of this paper. I must begin by stating that I am neither a mathematician nor a scientist, and that the mathematics involved in the evaluation of chaotic systems (although relatively simple) tend to make my head spin. I am not interested in drawing scientific conclusions from theatrical practice, but in employing the philosophical ramifications of the systematic study of chaos to allow a unique perspective on the modern theatre.
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