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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... spiritual in its widest sense. AntoninArtaud's pretentious claim toa'Holy Theatre'—picked up byvarious avant garde artists, most recently Murray Shafer—isrevealing. Evenfor anthropologists or ethnographers,the primitive is almost always ...
... spirituality atthe expense of the physical, and is characterized by rigidity andintellectual seriousness, the carnival spirit asserts the biologicalbasis oflife,the onenessofhuman existence with the earth.Itexalts all'lower' elements ...
... spiritually revolutionaryand standingin opposition to... psychological realism, Aristoteliantime structure. 6 Leaving aside ... spiritual revolution.Inthe conventional Marxist view (Brecht's Manis Man beinga representative example), an ...
... spiritual state. On theother hand thereare stillexisting modelsin certain highlytraditional/primitive cultures, whichoffera graphic demonstration of tantalizing possibilities not only by presenting ritual in whatisclearly aform of ...
... spiritual opposition, in which the protective deity—as aflying creature oflight,the principleoflife itself —wars with chaos,night anddeathinthe form ofevil magic embodying theplague(the imagethatArtaud tooktodefine theideal effect of ...
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