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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... (Schechner, 1969)MaxWaldman 21 Assaulting theaudience Bertolt Brecht, Antigone (Beck, 1967) Agence Bernand 22 PlotoutlineThe Living Theatre, ParadiseNow (Beck, 1968) Programme 23a, bSurreal images Robert Wilson/Heiner Müller, the CIVIL ...
... Schechner; members of JeanLouis Barrault'scompany at the Gared'Orsay andofthe Théâtre duSoleil,as wellasstaff at the National Theatreand Arthur Holmbergof ART. Inaddition I would like to thank Edward Bond for persuading methat, despite ...
... Schechner's assertionthat'the ambition tomake theatreinto ritual isnothing other than a wish tomake performance efficacious, touse [theatrical] events to change people'. 7 Naturally in light of this politicalintention, the most ...
... Schechner transplanted to New York,becametransformed intocounterculture, sexualrites. Intheir nativecontext the effectiveagent waslongestablished familiarity— for aParisian or OffOffBroadway audience they had imaginative power indirect ...
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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