By James M. Harding, John Rouse
Read or Download Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance PDF
Best theater books
The Cambridge Companion to Victorian and Edwardian Theatre (Cambridge Companions to Literature)
This better half is designed for readers attracted to the construction, creation and interpretation of Victorian and Edwardian theater. An advent surveying the historic interval of the theater is via an essay contextualizing it in the tradition as a complete. Succeeding chapters learn functionality and creation, (including track, actors, stagecraft and audience), performs and playwriting and problems with category and gender.
Critical Theory and Performance: Revised and Enlarged Edition (Theater: Theory Text Performance)
Serious idea and function provides a wide diversity of severe and theoretical tools and applies them to modern and historic functionality genres—from degree performs, dance-dramas, functionality paintings, cabaret, stand-up comedy, and jazz to circus, highway theater, and shamanistic ritual. because the first finished advent to serious theory’s wealthy and various contributions to the research of drama, theater, and function, the booklet has been hugely influential for greater than a decade in offering fertile floor for tutorial investigations within the full of life box of functionality reviews.
The Fighting Art of Pencak Silat and Its Music: From Southeast Asian Village to Global Movement
Scuffling with arts have their very own attractiveness, inner philosophy, and are attached to cultural worlds in significant and critical methods. Combining ways from ethnomusicology, ethnochoreology, functionality idea and anthropology, the distinguishing characteristic of this e-book is that it highlights the centrality of the pluripotent paintings kind of pencak silat between Southeast Asian arts and its significance to a community of conventional and sleek appearing arts in Southeast Asia and past.
- Shakespeare and I
- Historical Dictionary of American Theater: Modernism (Historical Dictionaries of Literature and the Arts)
- Bolshevik festivals, 1917-1920
- Angels in the American Theater: Patrons, Patronage, and Philanthropy
- The Spaces of Irish Drama: Stage and Place in Contemporary Plays
Extra resources for Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance
Example text
More about these competing de‹nitions will come momentarily. Beyond Linear Historiographies: Simultaneity If border theory helps us to deconstruct and thus regulate the unchecked slippage between a notion of the cutting edge that signi‹es aesthetic innovation and a notion of the cutting edge that promotes a linear model of European cultural dominance and in›uence, it also leaves us with the subsequent task of theorizing the avant-garde beyond the Eurocentric moorings that have substantially limited the parameters within which scholars have charted both the scope of and the conceptual structure governing the history of experimental aesthetics.
Certainly this was the case with Western modernism’s fascination with what it appropriated from other cultures under the conceptual rubric of primitivism, an appropriation that provided what subsequently became staple contours of European avantgarde expression. The European construction of primitivism has far-reaching implications not merely for modernism in general but for the avant-garde in particular. Any serious rethinking of the avant-garde thus must grapple with this latter example from the contested edges of empire, where an assumption of European cultural superiority and its ability to civilize “savage” cultures after its own Western image provided ideological cover for the appropriation, on physical, intellectual, and aesthetic levels, of non-Western cultural artifacts.
When in the early pages of that work Schechner mentions in passing that the “historical avant-garde took shape in Europe during the last decades of the nineteenth century. . [and] soon spread to many places around the world,”11 the chronology he endorses reminds us that the center-toedge/edge-to-center framing of the avant-garde in scholarship is as much a model for constructing an ideologically loaded and biased history of European artistic in›uence as it is a model for characterizing the forward and most advanced positions of artistic expression.