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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... Bernand 14 Ceremonialcostumes Fernando Arrabal, The Solemn Communion (1966)Fernando Arrabal 15 'Liebestod' Jean Genet,Flowers(Kemp, 1977) Lindsay Kemp 16 Brook's'Theatre of Cruelty' Antonin Artaud, The Spurt of I L L U S T R A T I ...
1892–1992 Christopher Innes. Kemp 16 Brook's'Theatre of Cruelty' Antonin Artaud, The Spurt of Blood (Brook, 1964) Zoë Dominic 17 Symbolic physiology Ted Hughes, Orghast (Brook, 1971) Ted Hughes 18 Religious imagery The Theatre Laboratory ...
... cruelty' when he developed his concept of'poor theatre'. Atthe same time one cantrace all the network of crossfertilizationthat normally definesasingle artistic movement,signalled equally by the continuing influenceofa precursor (Alfred ...
... relationshipto thespiritual universe, andtopurgethe audience of violence by indulging them (againstall psychiatric principles) in images of'gratuitous crime' and cruelty; or in Grotowski's'paratheatrical' projects and.
1892–1992 Christopher Innes. images of'gratuitous crime' and cruelty; or in Grotowski's'paratheatrical' projects and the Living Theatre's political psychotherapy, whereboththese approaches arecombined. In itsownway,Artaud'sviewofthe ...
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