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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... Alfred Jarry 3 Subliminal imagery August Strindberg, To Damascus (Sievert, 1922) Adolf u. Luisa HaeuserStiftung 4 Apotheosis Ernst Toller, Transfiguration (Martin, 1919) Akademie d. Künste—Berlin E. 5 Psychological intensityErnstToller ...
... (Alfred Jarry, August Strindberg) or shared vocabulary (for instance'theatre laboratory'), as by cooperationand imitation. ThusArtaud andRogerVitrac namedtheir theatreafter Jarry, and Eugène Ionesco was a memberofthe Collègede ...
... Alfred Jarry. Thefilmrecords the dramatizedreenaction of a myth. Masked actors represent supernatural beings—a hieratically stylized dragon and a nightmarish but grotesquely humanwitch.Their conflict symbolizes a quintessential ...
... Alfred Jarry's Ubu trilogy.And itisno accident thatUburoi(1896) was originally conceivedas apuppet playandfirst performed by LugnéPoe's Théâtre de l'Oeuvre, where the sameyear Jarryhad played the role of theOld Man ofthe Mountains in ...
1892–1992 Christopher Innes. I go to the first performance of Alfred Jarry's Ubu roi...and [my friend] explains to me what is happening on the stage. The players are supposed to be dolls, toys,marionettes, andnow theyare all hopping like ...
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