Editing Richard Schechner (section)

==Theatrical/directorial works==
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In March 2005, the Richard Schechner Center for Performance Studies was inaugurated as part of the Shanghai Theatre Academy, where Schechner is an Honorary Professor.  With The Performance Group Schechner directed many productions including ''[[Dionysus in 69]]'' based on Euripides' [[The Bacchae]] (1968), Makbeth based on Shakespeare's [[Macbeth]] (1969), Commune group devised piece (1970), Sam Shepard's The Tooth of Crime (1972), Bertolt Brecht's Mother Courage and Her Children (1975), David Gaard's The Marilyn Project (1975), Seneca's Oedipus (1977), Terry Curtis Fox's Cops (1978), and Jean Genet's The Balcony (1979).  With East Coast Artists, Schechner has directed Faust/gastronome (1993), Anton Chekhov's Three Sisters (1995), William Shakespeare's Hamlet (1999), and Schechner's and Saviana Stanescu's YokastaS (2003, YokastaS Redux 2005), Lian Amaris's Swimming to Spalding (2009), Imagining O (three versions: 2011, 2012, 2014).  Schechner has also directed in Asia and Africa: Anton Chekhov's Cherry ka Baghicha (1983 in Hindi) in New Delhi, Sun Huizhu's Mingri Jiuyao Chu Shan (1989 in Shanghai in Mandarin) August Wilson's Ma Rainey's Black Bottom (1992) at the Grahamstown Festival, South Africa, Aeschylus's The Oresteia (1995 in Taipei in Mandarin), and Shakespeare's Hamlet (2007 in Shanghai and 2009 in Wroclaw, Poland, in Mandarin).

While in New Orleans from 1960 to 1967, Schechner was a producing director with John O'Neal and Gilbert Moses of the [[Free Southern Theater]] (1963–65) and a founding director with Franklin Adams and Paul Epstein of the New Orleans Group (1964–67). Schechner was instrumental in identifying many exceptional writers, including Sam Shepard, Jean-Claude VanItallie, Murray Mednick, Ronald Tavel and Canadian-trained Megan Terry, whose techniques he compared to Shakespeare. He described Terry's "Viet Rock" as "Elizabethan in scope and tone." Plays, Schechner maintained, should be "wrought" rather than "written" - and he implied that Shakespeare "wrought" large at the turn of the seventeenth century by working closely with London's burgeoning theatrical companies.<ref>[[Gary Botting]], ''The Theatre of Protest in America'' (Edmonton: Harden House, 1972), 6-7</ref> Schechner sought to emulate this technique in the late sixties with his Performance Group.

Schechner is currently editor of the Enactments series published by Seagull Books and editor of the Worlds of Performance series published by Routledge.