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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... the most advanced phenomena are neither literarynor political, but formal. If the middle of the twentieth century isgoingto be remembered,it will befor theensembles oftheLiving Theatre, the Open Theatre,Café la Mama and Grotowski, whose ...
... the most appropriate— and infactthe mostfrequently used—ritual forms werethe'rites of passage', analysed by anthropologists likeVan Gennepasearly as 1908. The basic pattern here separation of participants from their isthe previous ...
... the most noticeable effect of symbolist theories was anundramatic progression intoabstraction andstasis, a withdrawalfrom theaudience epitomizedbythenumber of plays that followed Maeterlinck'sPelléas and Mélisande (1892) in being ...
... themost spirited party, wehave shouted for the play, but that nightatthe Hotel Corneille I am very sad...I say'After StéphaneMallarme, after Paul Verlaine, after Gustav Moreau, after Puvis de Chavannes, after our ownverse, afterallour ...
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