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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... Symbolic settingAntonin Artaud, The Cenci (Artaud, 1935) LipnitzkiViollet 10 Metaphysical incandescence Antonin Artaud, The Cenci (Artaud,1935) LipnitzkiViollet 11 Archetypal poses Antonin Artaud, TheCenci (Artaud, 1935) ...
... Symbolic physiology Ted Hughes, Orghast (Brook, 1971) Ted Hughes 18 Religious imagery The Theatre Laboratory, Apocalypsis cum Figuris (Grotowski,1968) Posterdesign 19 'MinuetCry I' Pedro Caldéron, The Constant Prince (Grotowski, 1966) ...
... symbolism, futurism, expressionism, formalism,surrealism. However,beneath thisdiversity thereis a clearlyidentifiable unity of purpose andinterest (atleastin thetheatre) whichhas all the characteristics of a coherent trend, since its ...
... symbolic or mythopoeic thinking precedes language and discursive reason, revealing fundamental aspects of reality that are unknowable byanyother means. 3 Bothare variationsofthe sameaim: toreturn toman's'roots', whetherinthepsyche ...
... symbolic but actual. B. ALI. A. ND. CU. LT. UR. A. L. C. OLO. NIALISM. The bestdocumented exampleis the Balinese dancedrama, and it is no coincidence that thiswasthe model Artaud chosefor his ideal theatre after seeing asingle performance ...
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