played in the street in the neighborhoods which would be affected by the highway, Little Italy and the West Village; the set was constructed in such a way that if a car came by, it would break apart to allow the vehicle to proceed. In 1970, feeling that the Judson Poets Theatre has past its peak, four artists involved in it ?Çô Bartenieff, his wife at the time, dancer Crystal Field, director Larry Kornfield and Theo Barnes ?Çô wanted to start their own "cross-disciplinary theater which emphasized poetic language", according to Bartenieff. The Westbeth Artists Community had just started at the time, and a large space appropriate for performance became available in the complex. This was the beginning of Theatre for the New City, which still exists, albeit in other quarters. TNC not only did their own work, they invited other companies, such as Mabou Mines, the Talking Band, and Richard Foreman's company, to perform there. They also mounted street theatre productions, with the purpose of making "the theater part of the community, and the community part of the theater." Bartenieff stayed with Theatre for the New City for 24 years ?Çô performing, directing or producing more than 900 new American plays ?Çô but left when he began to feel he was spending more time on the financial problems of the company than he was on his craft. "I had to return," said Bartenieff, "to my own work, from being the Cecil B. DeMille of off-off-Broadway to the idea that small is more." To this end, he collaborated with his wife, playwright and director Karen Malpede, to create a one-man show, I Will Bear Witness, an adaptation of the memoirs of Victor Klemperer, which documented daily life as a Jewish professor in Nazi Germany. This production was the beginning of Bartenieff and Malpede's Theater Three Collaborative, which as of 2012 was 17 years old. Stage productions Broadway The Whole World Over (1947, Biltmore Theatre, 0 previews, 100 performances) ?Çô featuring Uta Hagen and Sanford Meisner, directed by Harold Clurman Montserrat (1949, Fulton Theatre, 0 prev. 65 perfs.) ?Çô by Lillian Hellman The Moon Besieged (1962, Lyceum Theatre, 2 prev., 1 perf.) The Changeling (1964, understudy, ANTA Washington Square Theatre, 0 prev., 32 perfs.) ?Çô directed by Elia Kazan Venus Is (1966, Billy Rose Theatre, 7 prev., 0 perfs.) "Box" / "Quotations From Chairman Mao Tse-Tung" (1968, Billy Rose Theatre, 4 prev., 12 perf., in rep with production below) ?Çô two one-act plays by Edward Albee "The Death of Bessie Smith" / "The American Dream" (1968, Billy Rose Theatre, 0 prev., 12 perf.) ?Çô two one-act plays by Edward Albee Cop-Out (1969, Cort Theatre, 12 prev., 8 perfs.) ?Çô by John Guare Unlikely Heroes: "Defender of the Faith" / "Epstein" / "Eli, the Fanatic" (1971, Plymouth Theatre, 9 prev., 23 perfs.) ?Çô three one-act plays based on stories by Philip Roth Source: Off-Broadway The Brig ?Çô The Living Theatre (1963) "Home Movies" / "Softly Consider the Nearness" ?Çô Provincetown Playhouse
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