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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... Programme 23a, bSurreal images Robert Wilson/Heiner Müller, the CIVIL warS (ART,1985) Richard Feldman 24 Dream sequence Peter Shaffer,Equus (Dexter, 1973) Zoë Dominic 25 Mythological pageantry MurrayShafer, The Princessofthe Stars ...
... programme tendstobeclaimed asexclusive property by isolatedandeven mutually antagonistic sub groups. Somodern art appears fragmented and sectarian, defined asmuchby manifestos as imaginative work, and representing the amorphous ...
... programme (class revolution/eugenic evolution)througha conscious awareness ofspecific issues. Shaw's desire for a'pit of philosophers' isastypical as Brecht's attempts to instilthe'smoking observing' attitudeof'experts' in his audience ...
... programme was a medley of musical pieces (Gong; Lasem),adynamic sittingdance by asinglemale(Keybar)anda court dancefor prepubescent girls (Legong),solodisplays interspersedwithgroupformationdances(Djanger), a warrior dance and an ogre ...
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