Starting with the ground-breaking and fiercely individual voice of Jane Arden, first in Vagina Rex and the Gas Oven (1969), this chapter will explore her later work in Holocaust Theatre Company and the dangerous energies released in work on the experimental film The Other Side of the Underneath, the chapter will go on to explore the work of the women’s theatre companies that emerged in Britain in the 1970s and 80s, both in terms of how the collective practices of the early groups enabled women to find confidence in their creative voices, individually or collectively and enabled the emergence of new forms of experimental practice. It will trace how feminist initiatives emerged from within the frequently male-dominated alternative theatre sector: companies like Bloomers from within the mixed political theatre group Belt and Braces, Sadista Sisters from mixed physical theatre company the Berkoff-led London Theatre Group, Hesitate and Demonstrate and That’s Not It from various areas of the performance art and art school scene of Welfare State, The People Show and others, and the Magdalena Project from the Theatre Laboratory movement, addressing how far these various initiatives concerned the need to create alternative, experimental working structures and processes and alternative innovative performance aesthetics and forms. It will go on to explore in particular experimental work that was physical and visual, looking at companies such as Blood Group, Scarlet Theatre, Cunning Stunts, and Theatre of Black Women and will touch on some of the individual writers who emerged in this area of practice.