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oapen-20.500.12657-347002022-04-26T12:22:51Z Het anti-theater van Antonin Artaud. Een onderzoek naar de veralgemeende artistieke transgressie, toegepast op het werk van Romeo Castellucci en de Socìetas Raffaello Sanzio Crombez, Thomas anti-theater historische avant-garde theater antonin artaud historical avant-garde bic Book Industry Communication::1 Geographical Qualifiers::1D Europe::1DD Western Continental Europe::1DDF France bic Book Industry Communication::2 Language qualifiers::2A Indo-European languages::2AC Germanic & Scandinavian languages::2ACF Flemish bic Book Industry Communication::3 Time periods qualifiers::3J Modern period, c 1500 onwards::3JJ 20th century bic Book Industry Communication::5 Interest age & special interest qualifiers::5A Interest age / level::5AX For emergent readers (adult) bic Book Industry Communication::A The arts::AN Theatre studies::ANB Theatre: individual actors & directors bic Book Industry Communication::D Literature & literary studies::DD Plays, playscripts bic Book Industry Communication::D Literature & literary studies::DS Literature: history & criticism::DSG Literary studies: plays & playwrights What does it mean to violate the law on a theatrical stage? This is the central question in the following examination of modern theatre, beginning with the avant-garde, but also including the contemporary and iconoclastic work of the Socìetas Raffaello Sanzio. For the historical avant-garde, art could be the gateway to a new and liberated reality. But then all of existing reality first had to be demolished, and its laws consistently violated. Ultimately, this transgressive programme ends in discouragement and self-sabotage. Such an 'anti-theatre' has been explored most extensively in the writings of the French director and essayist Antonin Artaud. A careful exploration of Artaud's work, emphasizing his actual theatrical productions, shows that this paradox does not necessarily lead to a dead end. Generalized transgression may lead to a theatre that belongs more to philosophy than to art itself. 2011-01-14 00:00:00 2020-04-01T15:23:26Z 2020-04-01T15:23:26Z 2008 book 365431 OCN: 808385153 9789038212739 http://library.oapen.org/handle/20.500.12657/34700 dut application/pdf n/a 365431.pdf Academia Press 10.26530/OAPEN_365431 10.26530/OAPEN_365431 76cb5309-2a30-44e7-bc8c-7892cd1fa38c 9789038212739 336 Gent open access
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What does it mean to violate the law on a theatrical stage? This is the central question in the following examination of modern theatre, beginning with the avant-garde, but also including the contemporary and iconoclastic work of the Socìetas Raffaello Sanzio. For the historical avant-garde, art could be the gateway to a new and liberated reality. But then all of existing reality first had to be demolished, and its laws consistently violated. Ultimately, this transgressive programme ends in discouragement and self-sabotage. Such an 'anti-theatre' has been explored most extensively in the writings of the French director and essayist Antonin Artaud. A careful exploration of Artaud's work, emphasizing his actual theatrical productions, shows that this paradox does not necessarily lead to a dead end. Generalized transgression may lead to a theatre that belongs more to philosophy than to art itself.
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