Theater of the Avant-Garde 1890-1950: A Critical Anthology

by Bert Cardullo (Editor), Robert Knopf (Editor)

An essential volume for theater artists and students alike, this anthology includes the full texts of sixteen important examples of avant-garde drama from the most daring and influential artistic movements of the first half of the twentieth century, including Symbolism, Futurism, Expressionism, Dada, and Surrealism. Each play is accompanied by a bio-critical introduction by the editor, and a critical essay, frequently written by the playwright, which elaborates on the play’s dramatic and aesthetic concerns. A new introduction by Robert Knopf and Julia Listengarten contextualizes the plays in light of recent critical developments in avant-garde studies. By examining the groundbreaking theatrical experiments of Jarry, Maeterlinck, Strindberg, Artaud, and others, the book foregrounds the avant-garde’s enduring influence on the development of modern theater.

Genres: Theatre, Drama, Reference, Nonfiction, Plays

546 pages, Paperback

First published April 1, 2001

About the author

Bert Cardullo is Professor of Media and Communication at the Izmir University of Economics in Turkey. His books include Playing to the Camera, An Idea of the Drama, and Screen Writings.

Reviews

[Christopher · Rating 3 out of 5]

A collection of short plays of historical interest and varying levels of quality accompanied by essays, manifestos, and biographies.

[Brian Aldrich · Rating 5 out of 5]

Excellent summary of subject.

[T. Jacobson · Rating 4 out of 5]

One of the most exceptional, comprehensive books on theatre.

[Keith · Rating 3 out of 5]

This is a good history of experimental theatre since 1890. I don’t know if you’d say much of it is good or something you’d regularly want to see. King Ubu, The Ghost Sonata, The Cuttlefish are works that deserve a re-reading. The rest are pieces meant to shock the viewer and his/her understanding of what theatre is, providing a taste of symbolism, pataphysical theater, expressionism, futurism, dada, surrealism, theater of the absurd, and a few more. The manifestos for these trends are invariably full of naïve bluster about the end of “realistic” or “naturalistic” drama and being “truer” or “more real” or “more authentic” or “break molds” or “being free” or whatever.

This is an excellent set for the hardcore theatre enthusiast, providing a good overview of the artistic currents since 1890. For others, I don’t think you’ll find much compelling literature or drama.