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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... structure. 6 Leaving aside theincorrect assertionthat ideological commitment automatically rules out stylistic advances,which is clearly contradicted by the workof ideological artistslike BertoltBrecht, what issignificantis the stress ...
... structures—whether'dialectical' as in Brecht or the conventional causeandeffect of Bernard Shaw—since its aim is to promote a future programme (class revolution/eugenic evolution)througha conscious awareness ofspecific issues. Shaw's ...
... structures fromthe familiar Christian tradition orattempting to reproduce dream states. It was really onlyin the'theatre laboratories' ofthe 1960s thatmodels from outsidetheEuropean culturalheritage wereapplied inanything more thana ...
... structures of thought was what ledthe symbolists to attempttofind direct, as opposed to discursive ways of communicating —a language, at once sensual and subliminal—and it is this linking of apparent opposites that has become abasic ...
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