He died of AIDS, said Eve Ensler, a friend.
Mr. Walker, an instructor in theater technique in the graduate acting program at the Tisch School of the Arts, had taught in the program since 1985 and was noted for his classes on improvisation and theater games.
He also taught acting at Dartmouth, Vassar, Princeton, the New School, Colorado College, the City University of New York, Montclair State College and Balliol College, Oxford.
With the Manhattan-based Acting Company, he toured as an actor in productions of "Twelfth Night," "Il Campiello, a Venetian Comedy," "The Country Wife" and "Waiting for Godot."
In the 1980's Mr. Walker acted in regional productions in Minnesota, Portland, Ore., and Washington. In 1990, he toured Eastern Europe and the Soviet Union with the Acting Company in "Five by Tenn," a program of Tennessee Williams's one-act plays.
Mr. Walker directed "Ladies," "Legacy" and "Short Takes" for the Music-Theater Group in Manhattan. He wrote several plays, including "A Passenger Train of 61 Coaches" at the Humana Festival in Louisville, Ky., "The Rivers and Ravines" at Arena Stage in Washington and "Under Control" at the 29th Street Repertory Theater.
AIDS Quilt
Source: http://www.nytimes.com/1993/12/07/obituaries/paul-walker-director-actor-and-teacher-41.html
Further Readings:
Paperback: 264 pages
Publisher: Beacon Press (January 14, 2004)
Language: English
ISBN-10: 080707957X
ISBN-13: 978-0807079577
Amazon: Beyond Shame: Reclaiming the Abandoned History of Radical Gay Sexuality
The radical sexuality of gay American men in the 1970s is often seen as a shameful period of excess that led to the AIDS crisis. Beyond Shame claims that when the gay community divorced itself from this allegedly tainted legacy, the tragic result was an intergenerational disconnect because the original participants were unable to pass on a sense of pride and identity to younger generations. Indeed, one reason for the current rise in HIV, Moore argues, is precisely due to this destructive occurrence, which increased the willingness of younger gay men to engage in unsafe sex.
Lifting the'veil of AIDS,' Moore recasts the gay male sexual culture of the 1970s as both groundbreaking and creative-provocatively comparing extreme sex to art. He presents a powerful yet nuanced snapshot of a maligned, forgotten era. Moore rescues gay America's past, present, and future from a disturbing spiral of destruction and AIDS-related shame, illustrating why it's critical for the gay community to reclaim the decade.
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