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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... presentation of dreamstates andsurrealistic images,oran attempt totapthe spectators' subconscious—have beenso widespread in twentiethcentury theatre that the boundaries of the avant gardeare amorphous. In part themovement is hardto ...
... presented as nothingless than a'cosmicprinciple', oneof Bakhtin's recurring labels forthe carnevalesque. Translated into literaryterms (withRabelais as thearchetypal exemplar,from whomBakhtin derivesa radical theoryofhumour), this ...
... presenting ritual in whatisclearly aform of theatre, but also by apparently inducinga changeinthe participantsthat isnot merely symbolic but actual. B. ALI. A. ND. CU. LT. UR. A. L. C. OLO. NIALISM. The bestdocumented ... presented. 10 ...
1892–1992 Christopher Innes. occasion, or of how it was presented. 10 However, if it corresponded to Margaret Mead's pathbreaking anthropological film of Trance and DanceinBali, shot only six years later, itepitomizedmany ofthe qualities ...
... 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'mute and ...
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