Artificial scarcity turned avant-garde theater into a premium black-market commodity

Evidence

Grotowski limited his audience, allowing only one hundred spectators for each performance of The Constant Prince and Acropolis, and only forty for Apocalypsis cum Figuris, thus creating an unusual degree of intimacy with the players as well as the hottest ticket in town. (Seats reportedly went for $200 on the black market.) — J. Hoberman, Everything Is Now, 2018

Categorization

• XREF: Ties to the reader’s two-part structure thesis — a scene becoming a market; scarcity engineered by the artist himself is an early instance of avant-garde value production.