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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... concept of'poor theatre'. Atthe same time one cantrace all the network of crossfertilizationthat normally definesasingle artistic movement,signalled equally by the continuing influenceofa precursor (Alfred Jarry, August Strindberg) or ...
... in thetheatre leadsto experiments with ritual andtheritualistic patterning ofperformance. These are integrated notonly bytheJungian concept thatall figures of myth are contained in the unconscious as expressions of psychological archetypes,
... concept ofan atomized bourgeois individuality by making each festiveparticipant conscious of'being a member of a continually growing andrenewed people'.2Thisutopianidealofcommunity (andby extension Communism)is bothgenerated andaffirmed ...
... concept of aceremonial action changing one's existential nature is the basis of themajor surviving rituals of our secularized society. Baptism literallygives anonymous babiesa spiritualand social identity, anameand aplace in thegroup ...
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