2nd edition. — London: Routledge, 1993. — 272 p. — ISBN-10: 0415065178; ISBN-13: 978-0415065177Examining 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. The original text, first published in 1981 as Holy Theatre, has been fully revised and up-dated to take account of the most recent theoretical developments in anthropology, critical theory and psychotherapy. New sections on Heiner Muller, Robert Wilson, Eugenio Barba, Ariane Mnouchkine and Sam Shepard have been added. As a result, the book now deals with all the major avant garde theatre practitioners, in Europe and North America. Avant Garde Theatre will be essential reading for anyone attempting to understand contemporary drama.ContentsIntroductionThemes and definitionsThe Politics Of PrimitivismBakunin—Bakhtin The cult of the primitive Bali and cultural colonialismdreams, archetypes and the irrationalSymbolism and Alfred Jarry August StrindbergTherapy And Subliminal TheatreGerman expressionism Expressionist staging Eurythmics and psychodrama Expressionist influences and Artaudian precursorsAntonin Artaud And The Theatre Of CrueltyTheory and practice Form and theme The influence of film ‘An aborted theatre’ Jean-Louis Barrault Total theatreBlack Masses And Ceremonies Of NegationJean Genet Fernando Arrabal—Lindsay KempMyth And Theatre LaboratoriesPeter Brook Towards a theatre of mythSecular Religions And Physical SpiritualityJerzy Grotowski Paratheatrical therapyAnthropology, Environmental Theatre And Sexual RevolutionEugenio Barba—Richard Schechner—Joe Chaikin The Living TheatreInterculturalism And Expropriating The ClassicsShakespearean adaptations Heiner Müller and Robert Wilson Ariane MnouchkineFrom The Margins To MainstreamPopularization and public acceptance Eugene O’Neill—Eugène Ionesco—Sam Shepard Spreading the avant garde Commercial adaptation and cultural festivalsNotes Select bibliography Index
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