Avant Garde Theatre 1892 1992

In examining the development of avant garde theatre from its inception in the 1890s to the present day, the author 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 idealization of the elemental and a desire to find ritual in archaic traditions. This widespread primitivism, he argues, is the key to understanding both the political and aesthetic aspects of modern theatre and provides fresh insights into contemporary social trends.

`Innes has produced a brilliant, sensitive, articulate statement. It deserves serious study by all those whose practice and commitment is toward an understanding and expression of this century's theatre'. - Choice

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. 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.

Publisher Description

This book explores an under-researched body of work from the early decades of the twentieth century, connecting plays, performances and practitioners together in dynamic dialogues. Moving across national, generational and social borders, the book reads experiments in Britain during this period alongside theatrical innovations overseas.

In this collection of essays by avant-garde theatre's most creative practitioners--directors, playwrights, performers, and designers--these writings provide direct access to the thinking behind much of the most stimulating playwriting and performance of the late nineteenth and twentieth centuries.