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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... social trends. The originaltext, first published in1981 asHolyTheatre,has been fully revised and updatedtotake accountofthe most recent theoreticaldevelopments in anthropology, critical theory and psychotherapy. New sections on Heiner ...
... thetitleof Holy Theatre. This completely revised and updatedversion hasbeen supported bothbya grantfrom the Facultyof ArtsatYork University, and by the Social Sciences and Humanities Research Council A C K N O W L E D G ...
1892–1992 Christopher Innes. University, and by the Social Sciences and Humanities Research Council of Canada, to whom I am most grateful. I would also like to acknowledge the help of Marion Jaeckel andAlyson McMackon,who provided ...
... social revolution; and avantgarde art is still characterized byaradical politicalposture. Envisioninga revolutionary future,it hasbeen equally hostile to artistic tradition, sometimes includingits immediate predecessors, asto ...
... social organization; and all set rules that prescribedbehaviour ('being') had to be discarded for a fluid sense of individual fulfilment('becoming'). Ingeneral terms theseremain the ideals of the avant garde, evenif theirsource ...
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