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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... mime. But the performer isasingleexpert (theshaman), incontrast tothe Balinese modelwhereall members ofthe social groupparticipate; and it relies moreon illusion forits effect, being usually conducted in a darkenedspace and frequently ...
... mime to portray psychologicalstatesinimmediate,physical terms, insteadof describing thesein dialogue. The aimwasto reach a deeper level of realitythan deceptive surface appearances —to embody the inner natureof archetypal man in ...
... mime artistautomatically presented'a hieratic image of life'. His silence, which ledto stylized, exaggerated gesturesand the transformation ofhis face into amask,gained resonance fromits distance to the everyday— and, precisely because ...
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