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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... characters. This was the hallmarkof symbolist drama, andit reached its fullest expression in the cavern scene ofPelléas and Mélisande.Here Golaud, havingcaught Pelléas caressing Mélisande's long blonde tresses, leadshiminto the ...
... characters only speak pasteachother in overlappingmonologues whilethe action islocatedand developed on a wordless, subtextuallevel thatbears little relationshiptothe direction of the spoken dialogue. As a result the psychological.
... characters speak forthemselves, their inconsistenciesandillogicalities express their essential humanity. We [authors]havenobetter claim thananyone elsetobe able to explain them'(Denys Amiel, 1923).This wasa principle that Harold Pinter ...
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