The period marks a consolidation of performance studies as a unifying lens across theatre, music, and speech, treating performance as a social act rather than a finished artifact. Dramaturgy, audience interaction, and ritual dimensions of speech gain theoretical centrality, while orality is reframed as a performative practice rather than a mere linguistic form. Improvisation is established as a core methodology shaping pedagogy, collaboration, and on-stage creation, with political aesthetics influencing how composition and reception are interpreted.