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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... qualities arethe definingmarks of avant garde drama: inparticular the emphasis on stage production as processin opposition tothe fixed artproduct of classical aesthetics; and the fusion of actors and audience, breaking down the.
... actors and spectators. Footlights would destroy a carnival, as the absence offootlights would destroy a theatrical performance. Perhapsevenmore centrally, thesame unitingof opposites such as deathandbirthor dismemberment and copulation ...
... actors represent supernatural beings—a hieratically stylized dragon and a nightmarish but grotesquely humanwitch.Their conflict symbolizes a quintessential spiritual opposition, in which the protective deity—as aflying creature oflight ...
... actors with their vocal imitations'. 5A natural extensionofthisinterest ledthe symbolists to explore the possibilitiesof puppettheatre, whichuntilthen had been associated primarily with crude and popular entertainment. Gordon Craig's ...
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