Avant Garde Theatre: 1892–1992Routledge, 02.09.2003 - 272 Seiten Examining the development of avant garde theatre from its inception in the 1890s right up to the present day, Christopher Innes exposes a central paradox of modern theatre; that the motivating force of theatrical experimentation is primitivism. What links the work of Strindberg, Artaud, Brook and Mnouchkine is an idealisation of the elemental and a desire to find ritual in archaic traditions. This widespread primitivism is the key to understanding both the political and aesthetic aspects of modern theatre and provides fresh insights into contemporary social trends. |
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Inhalt
1 INTRODUCTION | 1 |
2 THE POLITICS OF PRIMITIVISM | 5 |
3 DREAMS ARCHETYPES AND THE IRRATIONAL | 19 |
4 THERAPY AND SUBLIMINAL THEATRE | 35 |
5 ANTONIN ARTAUD AND THE THEATRE OF CRUELTY | 57 |
6 RITUAL AND ACTS OF COMMUNION | 93 |
7 BLACK MASSES AND CEREMONIES OF NEGATION | 107 |
8 MYTH AND THEATRE LABORATORIES | 125 |
9 SECULAR RELIGIONS AND PHYSICAL SPIRITUALITY | 149 |
10 ANTHROPOLOGY ENVIRONMENTAL THEATRE AND SEXUAL REVOLUTION | 167 |
11 INTERCULTURALISM AND EXPROPRIATING THE CLASSICS | 193 |
12 FROM THE MARGINS TO MAINSTREAM | 215 |
NOTES | 235 |
253 | |
259 | |