Eynat-Confino goes beyond the usual consideration of Craig s purported theories of the actor, scenery, and the scene painter to get at the heart of Craig s idea of theater.She draws not only on the research of contemporary Craig scholars but on material hitherto unavailablehis writings and daybooks and the writings of friends. She ties Craig s encounter with Isadora Duncan to a decisive modification in his notion of movement. To have an instrument more controllable than the actor, he invented the uber-marionette, a giant puppet. Craig also invented the Scene, a kinetic stage, the screens that brought him worldwide fame were simply an adaptation of this concept.Eynat-Confino argues that a scenario Craig wrote in 1905, here published for the first time, reveals a theosophical system like that of Blake, a system that was the main force motivating Craig s artistic quest. In her final chapter, she carefully examines the psychological, aesthetic, and circumstantial factors that kept Craig from completing his work to bring friendlinesshumorloveeasepeace to the world."