On the page, María Irene Fornés’s texts might not look much like “environmental theatre” in the sense theorized by Richard Schechner, yet her mature work as a playwright-director was profoundly attentive to the specifics of her surroundings and to the recyclable raw materials they afforded her. In this essay, Scott-Bottoms argues that Fornés was a maker of events wrought in time and space and that her interest in site-specific productions (in tandem with her resistance to the assumption that writers turn their work over to directors) rehearsed a distinctive mode of theatremaking that cultivated an organic continuity between stage and production. Acknowledging that Fornés herself would have likely resisted the term for thinking about her work, Scott-Bottoms appropriates the term on her behalf and argues for a Fornésian model of “environmental theatre” that is significantly different from but perhaps as enduringly influential as that outlined by Schechner.