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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... surrealism. However,beneath thisdiversity thereis a clearlyidentifiable unity of purpose andinterest (atleastin thetheatre) whichhas all the characteristics of a coherent trend, since its principlescan be shown tobesharedquite ...
... surrealists,hisexistential vision is quite distinct from theavant garde stress on liberating the primitiveside of thepsyche. Themainstream ofthe avantgardeis notsimply defined by shared stylisticqualities, although these maybe what is ...
... surrealist portrayals ofthebourgeoisie, although comedy is signally absentfromArtaud and mostlater manifestationsof the avant garde. This tendencyto quasireligious seriousness, which alltoooften led to inflated selfpretension, isthe ...
... surrealists like Breton orabsurdists like Adamov tojoin the Communist Party.Quite rightly, however,their motives were questioned byother communists.In the totalitarian state to which they were committed, their artistic approach would be ...
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