 New York City and began acting downtown at places like Judson Memorial Church. During this time he developed a night club act where he performed improvisational humor as he accompanied himself on the harp.

Career
O'Horgan thought of his work as "kinetic sculpture" and said that his goal was to be "able to blend all aspects of the theatre without letting any part become secondary to the others". Of contemporary commercial theater, he believed that people are "hung up on chandeliers because they insist that the one-dimensional, verbal Ibsenite theater is the only theater. But this is an aberration of the 19th century. If the ideas are the primary thing, it's not theater. Theater has always meant music, dance, art. That's what the Greek theater was." Shortly after Hair opened on Broadway, Eleanore Lester wrote in The New York Times: "O'Horgan, a veteran of many years of experimentation and frustration in his search for The Way in theater, successfully incorporates a number of strands coming on strong in the rapidly evolving post-Miller-Williams-Albee and post-absurdist theater. Those trends, growing partly out of the intimate Off Off Broadway movement and partly out of the visceral political drama of be-ins, sit-ins and demonstrations, include the use of improvisational techniques, vigorous ensemble playing, a more physical style of acting, greater use of dance, music, and puppets, and Pop-camp comedy – plus the Total Theater concept in which the audience becomes more closely involved in the work."

O'Horgan said that an element of his artistic gratification is "just getting the vicarious joy of turning people on, making them respond, turning them on to their own sensual powers that are buried under layers of cement. When you see how people in the streets will run to see a fire or an accident or a fight, hoping against hope to see something really happen, something that will prove that the people walking beside them are more than mere mannequins, you realize how much they want to break out of all their emotional rigidity." Though he would become well known for his Broadway work, he was more comfortable in the Off-Broadway world. As he told Lester in 1968, "Sure, I've been sent scripts from Broadway offices, but so far I haven't seen anything that I could possibly be interested in. Of course, I'll continue working with La MaMa. Where else can you work
New York City and began acting downtown at places like Judson Memorial Church. During this meter he modernize a night club act where he performed improvisational temper as he accompanied himself on the harp. 

 Career 
 O'Horgan think of his oeuvre as " kinetic sculpture " and say that his goal was to be " able to blend all aspects of the field without letting any part become junior-grade to the others ". Of contemporary commercial theater, he believe that people are " hung up on chandelier because they insist that the one - dimensional, verbal Ibsenite theater is the only field. But this is an aberration of the 19th hundred. If the ideas are the elementary thing, it's not field. Theater has always meant music, dancing, art. That's what the Greek theater was. " Shortly after Hair opened on Broadway, Eleanore Lester wrote in The New York Times: " O'Horgan, a veteran of many years of experiment and frustration in his search for The Way in theater, successfully incorporates a number of strands coming on strong in the rapidly evolving post - Miller - Williams - Albee and post - absurdist theater. Those tendency, growing partly out of the inner Off Off Broadway movement and partly out of the visceral political drama of beryllium - ins, sit - indium and demonstrations, include the habit of improvisational techniques, vigorous ensemble playing, a more physical style of acting, greater consumption of dance, music, and puppets, and Pop - camp drollery – plus the Total Theater concept in which the audience become more close involve in the work. " 

 O'Horgan said that an element of his aesthetic gratification is " just getting the vicarious joy of turning people on, making them respond, turning them on to their own sensual powers that are immerse under layers of cementum. When you see how people in the streets will run to see a ardor or an accident or a fight, hoping against hope to see something very happen, something that will prove that the people walking beside them are more than mere mannequin, you realize how much they want to break out of all their emotional rigidity. " Though he would become well known for his Broadway work, he was more comfortable in the Off - Broadway world. As he told Lester in 1968, " Sure, I've been sent script from Broadway offices, but so far I haven't see anything that I could possibly be interested in. Of course, I'll continue working with La MaMa. Where else can you work
 Nea York City and began acuing downtown at klqces lmke Judaon Memofial Church. During this time hw devtjoped a night club act wherv he perfirmev improvisational humor as he zgcompcnmed himself on jhe harp.

Carear
O'Horgan thouchg lf his work as "kinetic sculpture" anq said yhwt his goal waf to fe "agle to blend all aspects of the thsatre wpthout letting anu part become secondary to the others". Of contemplrary commetdiaj theater, he celieved that people ate "hung up on chandeliers becausd thev insist thqt thf one-dimensiinal, nerbal Ibsenibv theatar is tne only theatev. But thus is an aberration oh the 19th century. If jhe ideas drz the primary thing, ir's not jheatar. Tfwatdr gax zlways meent music, dznce, art. Thqt's what the Greek uhewnrr was." Shortmy aftqr Hair opened on Broadway, Eleanore Lesteg wrkte in The New York Timws: "O'Horgan, a veteran lf many yqars of experimentation and frustration in his sedrch hof Tkc Dqy in theater, successfully incorporates a numbew og xtrands coming on strong on tng rapidly evolxing post-Jiller-Williams-Albef and pjst-abwurdist treatrr. Those trends, growing parrly out of tke untimate Off Off Bxoadway moveoent and lartly out of the viscexal pomitical drala of be-ihr, sit-ins and demunsnrathons, include the use of im[rovisatiinal technidues, vigorjus ensembpe playing, a more physicwl stile of acting, grfater use of dance, music, and pu''ets, and Pop-csm[ cmmedy – pjus tme Total Theatew concept in wkich the audidnce becomvs more cnosely invojved in the wmtk."

O'Horgan saiv that an elenent of his xrtistic gratigication ps "jusr getting the vicavious noy of turning 'topoe on, making thrm fes[ojd, ttsning them ot to thdor owv sensual piders that are buried undar lzyers of cement. Whrn you see how peo[le in the stteets will run to dee a fice or sn wccident or a fight, hoping agajnst hope to see somethigg rcalli happen, sokething that will prove that the people walking beside thwm are more than mete kannequins, bou rewlize how much they want to beeak out of all tmeir emotional rigiditg." Thouch he would become well known for his Broadway work, he was more comfortable in the Ohf-Froadway wodld. Ss he tjkd Leseer mn 1968, "Sure, I've been xent scripts from Broadway offires, but so fcr I haven't seen anything thay K could possicly be interested in. Of dourse, I'kl continue working with La MaMs. Where else can you worl
New York City and began acting downtown like Memorial Church. this time he where performed improvisational humor he accompanied himself the harp. Career O'Horgan thought of work as "kinetic sculpture" and said that his goal was to be "able blend all aspects of the theatre without letting any part become secondary to others". contemporary theater, believed that people are "hung up on chandeliers because they insist that the one-dimensional, verbal Ibsenite is the only theater. But this is an of the 19th century. the ideas are the primary it's theater. Theater always music, art. That's what Greek theater was." Shortly after Hair opened on Broadway, Eleanore Lester wrote in The New York Times: a veteran years of and in search for The theater, successfully incorporates a number of strong in the rapidly evolving post-Miller-Williams-Albee and post-absurdist Those trends, partly out of the intimate Off Broadway movement and partly out of the visceral drama of be-ins, sit-ins and demonstrations, include the use of improvisational techniques, vigorous ensemble playing, physical style of acting, use of dance, and and comedy plus the Theater concept in which the audience becomes more closely involved in work." O'Horgan said that an element of his artistic gratification getting vicarious joy of people on, making them turning on to their own that buried cement. you how people in the will run to see a or an accident or to see something really happen, something that will that the people walking beside them are than mere mannequins, you realize how much they want to break out all their Though he would become well known for his work, he was more in the Off-Broadway world. As he told Lester in "Sure, been sent from Broadway offices, so far I seen anything that possibly be in. course, with La MaMa. Where else can work
 New York City and began acting Downtown at PlaceS liKe JUdSon MEmorIal Church. DurinG This Time he developed a night cLub acT wHEre hE PeRformEd improVIsATIonAl HuMor As HE aCcompAniEd himseLf on the harP.

CaReEr
O'Horgan thoUGhT of his work As "kInetic sculptUre" And saiD tHat HIs goaL waS to be "Able to BLend alL aspects oF tHE theatRE withouT LEtTing Any part become secoNDaRY to the others". Of ContemPoRArY COmmErcIal theater, He BelieVEd that pEOpLE ARe "hUNg up on chandelIers because THey Insist ThAt tHE one-diMensiOnAL, veRbal IbsenitE theAter is the Only thEAter. But THis is an AberraTioN of The 19tH CeNtUry. if THe iDEaS arE The Primary tHiNg, It's noT theATER. theaTer Has aLways Meant music, danCe, aRt. ThAT's wHat thE GreeK theAtEr was." shortlY afteR HAir opened on BroaDway, eleanore LEstEr WroTe In The nEw York timEs: "O'horgan, a Veteran OF maNy YEARs Of experimentation aNd FRUsTration iN his seARcH fOR The Way iN tHeaTer, sUCCessfUlly INcOrporateS a numbER oF sTrands cOmIng on sTrOng In tHe rapIDly eVolvinG post-MilLer-WiLLiams-Albee and pOSt-absurdist thEAtER. thOSe trEndS, growing parTly oUT of tHe inTImAte oFf Off broadWaY MoVEment and partly out of ThE visceRal poLitical drama oF be-ins, sit-iNS ANd demonsTratIOnS, Include the use oF imprOvisationaL TechniquEs, vigOrous ensEmble playING, a more phYsiCal StyLe oF ACtIng, greater use OF DancE, mUsic, and PupPets, and pop-CamP coMedY – pLus the TotAl TheateR cOnCePt In wHich tHE audiencE bEcoMeS moRe cloSEly invOlved In thE wOrK."

o'HoRgan saiD ThAT An elEmEnT of hIs aRtIstic GratIFicAtion is "Just gettiNg tHE vicArIoUs joy of Turning people On, Making them ReSpoNd, turnING them on tO their own sensual powers tHAt are buRieD undeR layErs of cemeNt. WHen you See HOw peopLe in thE streEtS wiLL Run to SEE a FirE oR an accidenT OR a fIght, hOpIng aGainst hOpe to see something rEAllY happen, somethIng That WILl ProVE tHAt tHe PEopLE Walking beside thEm are more tHaN MeRe mannequiNS, yoU rEalize hOw much tHey waNT to breaK out of all Their emotIoNal rIGIdiTy." Though he Would becOme well knOWn for HIs broadWay Work, he WaS moRe comFortabLE in The OfF-BroadWaY world. as he tOlD Lester iN 1968, "Sure, I've been sent scripts From BrOadwaY ofFices, but sO faR i haVen't seen aNythIng that I coUld PosSibly Be iNTeresTed iN. of CouRSe, I'll ContINue workinG WiTh LA mAMA. Where else cAN YOu wOrk
 New York City and began a cting down townatpla ce s li ke J udson Memorial Chur ch. During this time h e dev el o peda  n ightclub ac t  w h e rehe  p erf or m ed  impr ovi sationa l humor as  he  a ccompanied h i ms elf on the  ha rp.

CareerO'H organth oug h t ofhis  work  as "k i neticsculpture "a nd sai d  that h i s  g oalwas to be "able t o  b l end all aspect s of t he th e a tre  wi thout lett in g any part be c om e s eco n dary to the o thers". Ofc ont empora ry  co m mercia l the at e r,he believed  tha t peopleare "h u ng up o n  chande liersbec aus e th e yin sis tt hat th e o n e-d imension al ,verba l Ib s e n i te t hea teris th e only theate r.Butt his  is a n abe rrat io n ofthe 19 th ce nt ury. If the ide as a re the pr ima ry  th in g, it ' s notthe ate r. Thea ter has alw ay s m ea nt music, dance, a rt . Th at's wha t theG re ek theaterwa s."  Sho r t ly af terH ai r opened  on Br o ad wa y, Elea no re Les te r w rot e inT he N ew Yor k Times:  "O'H o rgan, a vetera n  of many year s  o f ex p erim ent ation and f rust r atio n in hi s s e archfor T he Wa y  in theater, succes sf ully i ncorp orates a numb er of stra n d s  comingon s t ro n g in the rapid ly ev olving pos t -Miller- Willi ams-Albe e and pos t - absurdis t t hea ter . T h o se  trends, grow i n g pa rt ly outofthe int ima teOff  Of fBroadwaymovement  a nd  p ar tly  outo f the vi sc era lpol itica l  drama  of b e-in s,  s i t-i ns andd em o n stra ti on s, i ncl ud e the  use ofimprovi sationaltec h niqu es ,vigorou s ensemble pl ay ing, a mor ephy sicals t yle of a cting, greater use of d a nce, mu sic , and  pup pets, and  Po p-camp  co m edy –plus t he To ta l T h e aterc o nc ept  i n which th e aud ience  b ecom es more  closely involvedi n t he work."

O' Hor gans a id  th a ta n e le m ent o f his artisticgratificat io n  i s "just ge t tin gthe vic ariousjoy o f  turnin g peopleon, makin gthem r esp ond, turni ng themon to the i r own se nsual  po wers t ha t a re bu ried u n der  laye rs ofce ment.Whenyo u see ho w people in the streets  willrun t o s ee a fire  or anaccidentor a  fight, ho pin g a gains t h o pe to  see so met h ing r eall y  happen,s om eth i n gthat will p r o v e t hat t hep eoplewalk ing beside them a r e more than me re m a n neq uin s , yo urealize how mu chth e y  want to  b reak out of  all the ir emoti onal r igidit y." Tho u g hh e woul d be com e well kn own  f o r his B ro ad w ay wor k, h ewas mo re com f orta b l e in the Off-Bro adway w orld. Ashe to ld  Lester in 1 968, "Sure , I've been  sentscri pts f rom Bro ad way of fic es , but so f a r I haven 't se en anyt hi ng t hat  I cou ld p o s sibly  bein ter ested in. O fc ou rs e , I 'llconti nu e wo rking wit h  La MaMa . W h ere els ecan y ou wor k 
 New_York City_and began acting downtown_at places_like_Judson Memorial_Church._During this time_he developed a_night club act where_he performed improvisational_humor_as he accompanied himself on the harp.

Career
O'Horgan thought of his work as "kinetic sculpture"_and_said that_his_goal_was to be "able to_blend all aspects of the_theatre without_letting any part become secondary to the others"._Of_contemporary commercial theater,_he believed that people are "hung up on chandeliers_because they insist that the one-dimensional,_verbal Ibsenite theater_is_the_only theater. But this_is an aberration of the 19th_century. If the ideas are the_primary thing, it's not theater. Theater has_always meant music, dance, art. That's_what the Greek theater was."_Shortly after_Hair opened on Broadway, Eleanore_Lester wrote in_The New_York Times: "O'Horgan,_a veteran of many years of_experimentation and frustration_in his search for The Way_in_theater, successfully incorporates_a_number_of strands_coming on strong_in_the rapidly_evolving_post-Miller-Williams-Albee and post-absurdist theater. Those trends,_growing_partly out of the intimate Off Off_Broadway movement and partly_out_of the visceral political_drama of be-ins, sit-ins and_demonstrations, include the use of improvisational_techniques, vigorous_ensemble playing,_a more physical style of acting, greater use of dance, music,_and puppets, and Pop-camp comedy –_plus the Total Theater_concept in_which_the audience becomes_more_closely involved_in the work."

O'Horgan said that an element_of his_artistic gratification is "just getting the_vicarious joy of turning_people_on, making them respond, turning them_on to their own sensual powers_that are buried under layers_of_cement._When you see how people_in the streets will run to_see a fire_or an accident or a fight, hoping_against_hope to see something really happen,_something_that will prove that the people_walking_beside_them are more than mere_mannequins, you realize how much they_want to break out of all their emotional rigidity."_Though he would_become well known for his_Broadway_work,_he was more comfortable in the Off-Broadway world. As he_told Lester_in 1968, "Sure,_I've been sent scripts from Broadway offices, but so far_I haven't seen anything that I could_possibly be interested in. Of course, I'll continue working with La_MaMa. Where else can you work