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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... cultural symptom of the malaise engendered by bourgeois society; for apologists itis the defining imperative in all art ofour time, and'the modern genius isessentially avantgardistic'. 1 Borrowedfrom militaryterminology by Bakunin, who ...
... culture. However, thisis far more thana cult ofthe superficiallyexoticand barbaric. Inavant garde drama, asthe widespread useofaterm like'theatre laboratory' in the 1960s and1970s indicates, primitivismgoes hand in hand with ...
... culture. It is echoedin Freud's'primal' therapy and his'attempt inTotem and Tabooto exploit thenewly won analytic insights for an investigationofthe origins of religion and morality', orinthe anthropological value placed ontheprimitive ...
... cultural hegemonyofthe establishment (whichwas sometimes littlemore than épater les bourgeois). Personal liberation cameto be conceived psychologically orevenspiritually, rather than as an externalcondition, although theroutetoits ...
... culture(whether ecclesiasticorfeudal) that promotes anabstract spirituality atthe expense of the physical, and is characterized by rigidity andintellectual seriousness, the carnival spirit asserts the biologicalbasis oflife,the ...
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