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In addition to producing lasting works of drama, some of avant-garde theatre’s most creative practitioners—directors, playwrights, performers, and designers—also offered profound insights into their art. Their writings, spanning most of the twentieth century and reaching back into the nineteenth, have been gathered together in this uniquely wide-ranging selection.
In Theories of the Avant-Garde Theatre: A Casebook from Kleist to Camus, commentary by such seminal figures as Antonin Artaud, André Breton, Alfred Jarry, Luigi Pirandello, August Strindberg, and others are featured here. Their writings illuminate a desire to wrench dramatic art out of all of its old habits and create a new, distinctive, and freestanding theatrical vocabulary. This collection provides direct access to the thinking behind some of the most stimulating performance and playwriting the modernists had to offer, as well as guidelines to the contemporary theatre’s current, most adventurous developments.
Setting theory beside practice, this collection brings alive a number of vital and continuing concerns, and provides enlightening perspectives on the theatrical history of the late-nineteenth and twentieth centuries. Theories of the Avant-Garde Theatre is not only an essential and versatile handbook for students at all levels but also offers a feast of ideas for anyone interested or engaged in theatre. Representing the twentieth century’s radical shift in the aesthetics of theatre and drama, these essays provide a valuable contribution to the literature of the avant-garde and should be of great interest to scholars and theatre lovers alike.
- Published on: 2012-11-02
- Released on: 2012-10-26
- Format: Kindle eBook
Review
This volume will be most useful in the hands of theater scholars interested in theater history in general or the avant-garde movement in particular. (American Reference Books Annual)
About the Author
Bert Cardullo is professor of media and communication at the Izmir University of Economics in Turkey. He is the author, editor, or translator of a number of books on drama and film, among them An Idea of the Drama: Six Modern Playwrights in One Movement and World Directors in Dialogue: Conversations on Cinema.
Most helpful customer reviews
4 of 4 people found the following review helpful.
Full of plagiarized material
By Pennsylvania
I would advise you not to purchase this book.
If you are unaware of Cardullo's history, please consult the following: [...] and [...]. A simple Google search using the terms "Bert Cardullo plagiarism" will reveal more. Cardullo was forced to resign his position at the University of Michigan several years ago due to plagiarism and ultimately had to leave the U.S. to find academic employment. Among those of us familiar with his work, there is doubt that anything he has ever written is completely free of plagiarism or unacknowledged republished material.
When excerpts from this book first appeared on the publisher's website, I decided to take lines and insert them into the Google search engine. In 15 minutes of non-systematic searching, I discovered the following:
The first lines of his entry on Kleist is a cut-and-paste of his article in German-Language Comedy: A Critical Anthology. “Heinrich von Kleist . . . was a German dramatist, all of whose plays . . . the notion that pure reason cannot penetrate the essence of things . . .”
From his entry on Maeterlinck, the line: “Maurice Maeterlinck . . . was a Belgian dramatist and essayist who exerted an influence upon contemporaneous European dramatists—particularly Chekhov, Strindberg, and Yeats—wholly disproportionate . . .” This is the exact language from Malcolm Bradbury and James McFarlane’s Modernism, 1890-1930. I believe the entire first paragraph is from Bradbury and McFarlane.
From his entry on Meyerhold, preface to “The Stylized Theatre”: “Vsevelod Meyerhold . . . was a Russian actor, director, and (briefly) filmmaker of German parentage. Though his work was not explicitly political . . .” This is the exact language of Richard Drain’s anthology Twentieth Century Theatre: A Sourcebook, page 101. Again, the entire paragraph appears to be from that source.
The first paragraph of his entry on Kornfeld is lifted from a Wikipedia article. The same for the one on Briusov.
I think it's highly probable that there is much more plagiarized material in the book. I informed the publisher of this matter, received a reply that they would look into the matter, but I see no further action has been taken.
Don't bother with this book. Go with writers and publications that follow the accepted rules and basic courtesies of academic scholarship.
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