By Alan Ackerman, Martin Puchner (eds.)
Against Theatre exhibits that the main admired writers of recent drama shared a thorough rejection of the theatre as they knew it. including designers, composers and movie makers, they plotted to damage all present theatres. yet from their destruction emerged the main stunning options of modernist theatre.
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Extra resources for Against Theatre: Creative destructions on the modernist stage
Barba and N. Savarese, A Dictionary of Theatre Anthropology: The Secret Art of the Performer, trans. 9–10. 3. 13. 4. 20. 5. See E. K. 6, and The Medieval Stage, vol. 216. 6. Patrice Pavis, Dictionary of the Theatre: Terms, Concepts, and Analysis, trans. 155. 7. 239. 8. Leon Battista Alberti, On Painting, trans. 54. 9. 239. 10. 65. 11. Christian Metz, The Imaginary Signifier: Psychoanalysis and the Cinema, trans. Celia Britton et al. 61. 3–23. 12. 5–6. 13. 5. 14. 76. 15. 9. 16. 14. Because of the range of images and products within the realm of production he is investigating, and the social relations to these objects, Crary prefers the term ‘observer’; but for a focus on theatre, I find the term ‘spectator’ more appropriate.
A theatre that had become the domain of stage managers and technicians, a theatre of erupting volcanoes, burning buildings, storm-tossed ships at sea, trap doors and special effects had already done the reverse – that is, it had de-literacized the theatre. Language, poetry and philosophy were minimized if not totally eradicated on the melodramatic stage and, arguably, on certain naturalistic stages as well. But the Symbolists were not simply opposed to the technological aspects of theatre; the very presence of the human actor was anathema to them.
T]ragedy would be replaced by metatheatre’ in the theatres of Shakespeare and Calderon, Abel argued, after whom extended a lineage that stretched to Pirandello, Genet, Brecht and Beckett. These plays had not been recognized as a distinct form, Abel said, and had no name: ‘I shall presume to designate them. 2 An exception is Richard Hornby’s essay, ‘Varieties of the Metadramatic’. 3 What explains this gap in criticism? Perhaps the modernist insight that all art is self-referential was thought to need no additional elaboration in the case of theatre.