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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... as the 1920s romance of technology—Georges Antheil's'aeroplane sonata', Corrado Govoni's'poésie elettriche' or Enrico Prampolini's'theatre of mechanics'—but primitivism. Thishas two complementary facets: the explorationof dream states ...
... as the absence offootlights would destroy a theatrical performance. Perhapsevenmore centrally, thesame unitingof opposites such as deathandbirthor dismemberment and copulation in carnival has been seenas typical—in artistic terms—of ...
... as the official voice of the avantgarde. Artaud'scallforconsciously suicidal protestmight seem completely apolitical, just as primitivismcould beseen simply as escapism, or the value put on the subconscious as retreat from reality ...
... flattening of individuality inthe dancers' facialrigidity, is asfixedby customand prescribed by immemorial tradition as the sequenceof eventsinthe mythical history. Postures and formalized hand attitudes found in the ...
... as the intellect, and therelativevaluation of conscious versus subconscious is typical.The apparently massive, impregnable edificeof rationalism is seenas precariously perched on unstable foundations, an artificial construction beneath ...
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