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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... from the publishers. A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data Innes, C. D..
... fromthe Russian Formalist schoolof linguistics, Bakhtin's literary sociology parallels anarchism but gives it a Marxist gloss. AsexemplifiedintheRoman Saturnalia, the medieval'Feastof Fools',or the modern Mardi Gras, for Bakhtin the ...
... from the Russian)in 1968, some months after Barrault's productionof Rabelais. T H E CUL T O FTHE P R IM I TI V E The thrust of Bakhtin's work is also regressive—finding its ideals in thereturntoamedieval survival of traditions from ...
... fromthe familiar Christian tradition orattempting to reproduce dream states. It was really onlyin the'theatre laboratories' ofthe 1960s thatmodels from outsidetheEuropean culturalheritage wereapplied inanything more thana superficial ...
... From the first this atavistic trend in avant garde drama was very much a child of its time, reflecting a general intellectual climate that hadbeenproducedbyliterarymovements earlier in the nineteenth century. The seeds can be found in ...
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