Pursued by a Bear) both of which have “remained solvent while producing critically acclaimed work in New York.” These graduate companies have materialized, so Zazzali argues, directly out of evolving pedagogies at the leading US university programmes. PigPen for instance developed out of “Carnegie’s Playground [my italics], a practice that continues today with classes being suspended for a week, as the department’s facilities are made available to students for devising independent projects” (p. 165). This kind of entrepreneurialism is indeed becoming relatively common in Britain too, with graduate companies such as Mischief Theatre (made up largely of LAMDA and RBC graduates) and their highly successful West End franchise, beginning with The Play That Goes Wrong. Zazzali’s thesis (summarized in this quote from p. 159):

中文翻译：

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选举游击队剧院：激进的嘲笑和社会运动

由熊追逐）两者都“在纽约制作广受好评的作品的同时保持了偿付能力”。Zazzali 认为，这些研究生公司的出现直接源于美国领先大学课程不断发展的教学法。例如，PigPen 是从“卡内基的游乐场[我的斜体] 发展而来的，这种做法今天仍在继续，因为该部门的设施可供学生用于设计独立项目”（第 165 页）。这种企业家精神在英国也确实变得相对普遍，有恶作剧剧院（主要由 LAMDA 和 RBC 毕业生组成）等毕业生公司及其非常成功的西区特许经营权，从 The Play That Goes Wrong 开始。Zazzali 的论文（总结在第 159 页的引文中）：