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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... Jarry inoneofhis plays,while JeanLouisBarrault basedone of his lastmajor productions on Jarry's life.Jarry's Ubu playshave beenperformed by Peter Brook, Joe Chaikinandthe Becks' Living Theatre, while a'Savage God' theatre company (named ...
... Jarry's fragmented plays. Thepositive function ofmadness,the inversion ofmoral categories andthe grotesqueinall ... Jarry and JeanLouis Barrault both createddramas based on Rabelais: one rightatthe startof the avantgarde movement, the ...
... Jarry's Ubu trilogy.And itisno accident thatUburoi(1896) was originally conceivedas apuppet playandfirst performed ... Jarry's deeper intentions, was quicktosee: I go to the first performance of Alfred Jarry's Ubu.
... Jarry's intentions, a grotesquely ugly embodimentof ourmost despicable instincts, whose involvement in anysituationreveals his own amoraland antisocialqualities in all the participants —exposing the rapacity, avarice, selfserving ...
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