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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... and itsDouble had analmost immediateimpact on the American counterculture theatregroups when finally translatedinto English, Ariane Mnouchkineis consciously paralleling both Artaud and Brook. Eugenio Barba was trained by Grotowski, and ...
... andthe primitive—although such avantgarde categories areoften inseparable, equallypolitical andtend to be expressed in psychological terms. Asaphilosophy, theavant garde corresponds to anarchism,which also has itsnihilisticside ...
... andthe grotesqueinall itsaspectsare central toAntonin Artaud'swork. Anambivalent attackon the sacred,the breaking of ... and the fusion of actors and audience, breaking down the.
... andthe two'Gods'aretheonly figureswith prescribed speeches. But the focusofthe performance ison the choruses of warriorsand maidens,who stand forthe human population, are unmasked, andwear traditional folk dress rather than'costumes ...
... and invulnerability. Note the force needed to bend the kris and the use of incense. Nothing is left to chance or personal initiative...everything is thus regulated and impersonal; not a movement of the muscles, not the rolling of an eye ...
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