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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... Nōh theatre, or his use of incantation and ritualized movement, is typical. Even his Rosicrucian mysticismhas its counterparts. Yet hispoetic aims are traditional, appealing'to theeye ofthemind'—the conscious imagination—and relying on ...
... Nōh, Kathakali—and the line runsthrough Grotowski (whohas acknowledged the influenceof Nōh acting techniques) and Tadeusz Kantor, Richard Schechner and Joe.
1892–1992 Christopher Innes. Nōh acting techniques) and Tadeusz Kantor, Richard Schechner and Joe Chaikin, to Richard Forman and contemporary US experimental groups whohaveadapted Javanese shadowpuppets, Indian Kathakali, oreven ...
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