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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... Rabelais (Barrault,1968) AgenceBernand 13 The litany'Jean Genet, The Blacks (Blin,1959) Agence Bernand 14 Ceremonialcostumes Fernando Arrabal, The Solemn Communion (1966)Fernando Arrabal 15 'Liebestod' Jean Genet,Flowers(Kemp, 1977) ...
... Rabelais are not onlyrepresentative, butalsooffera critical tool for analysing avant gardework. By contrast toclassicalandmimetic literature— seen asinherently authoritarian and logocentricin its'monologism' (his termfor Aristotelian ...
... Rabelais: one rightatthe startof the avantgarde movement, the other asa directresponse to the studentrevolution of 1968.In a sense, through Jarry, theroots of avant garde theatre liein the typeof radical laughter that Bakhtin saw as ...
... Rabelais wasonly written in 1940, remained unpublished until 1965, and first became available to theWest(in anEnglishtranslation from the Russian)in 1968, some months after Barrault's productionof Rabelais. T H E CUL T O FTHE P R IM I ...
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