Play-House of the Ridiculous

Theatre of the Ridiculous is a theatrical genre that began in New York City in the 1960s.

The phrase "Theatre of the Ridiculous" was created in 1965 by actor and director Ronald Tavel to describe his own work, which was later recognized as the beginning of the genre. Referencing Martin Esslin's concept of a Theatre of the Absurd, Tavel promoted the first Ridiculous performances with the manifesto: "We have passed beyond the absurd: our position is absolutely preposterous." Theatre of the Ridiculous broke from the dominant trends in theater of naturalistic acting and realistic settings. The genre employed a broad acting style, often with surrealistic stage settings and props, and frequently made a conscious effort to be shocking or disturbing.

Ridiculous theatre brought elements of queer and/or camp performance to experimental theater. Cross-gender casting was common, as was casting non-professional actors, such as drag queens or other "street stars". Ridiculous plays were often parodies or adaptations of popular culture, used as vehicles for social commentary and/or humour. Improvisation played a significant role in the often chaotic Ridiculous productions, with the script used as a starting point.

Prominent works from the genre include:

The Play-House of the Ridiculous was a theatrical ensemble founded by John Vaccaro in the mid-1960s. The ensemble first produced works written by Tavel, beginning with Shower and The Life of Juanita Castro, which were originally intended as films to be produced at Andy Warhol's Factory. When these works were rejected by The Factory, Tavel decided to have them performed as plays, producing them together on a double-bill called "Theater of the Ridiculous".

The Life of Lady Godiva, written by Ronald Tavel and directed by Vaccaro in 1967, was the first official production of the Play-House of the Ridiculous.Charles Ludlam, who would become a major figure in the "Ridiculous" genre, acted in the play as a last-minute replacement.

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