“Trading Art(s): Artaud, Spies, and Current Indonesian/American Artistic Exchange and Collaboration,” in Modern Drama, Vol. 35, No. 1, March, 1992, pp. 10-19.

In the following excerpt, Foley analyzes the influence of Balanese theater on Artaud's ideas about the form, function, and possibilites of his own theater.

In 1990-91 as part of the Festival of Indonesia, a government to government exchange of the arts, a wealth of Indonesian performance toured American cities. Over the same eighteen-month period there were an equivalent number of collaborative productions mounted by Indonesian directors, writers, choreographers, and U.S. groups (Keith Terry and I Wayan Dibia's Body Tjak in San Francisco and Arifin C. Noer's Ozone with students from the University of California at Santa Cruz), which followed the earlier collaboration between Putu Wijaya and Phillip Zarrilli in the mid-eighties. In some cases cultural roles were reversed, as at the San Francisco and Los Angeles...