The Theatre of Mixed Means

Fülszöveg

"Like many of the most importanttendencies in contemporary art, The Theatre of Mixed Meansemphasizesthe processes of creation rather than thefinal product".
Richárd Kostelanetz is, in this book, enacting his own process of critical creation - analysing an avant-garde movement in its embryonic stages. It is a theatre that "defines its presence not by the environment in which it occurs by the purposes of its participants". A theatre whose components-language, music, dance, light, sculpture, painting, as well as modern technology-function together. To define this movement more accurately he invents a new critical term -The Theatre of Mixed Means. A term which isolates the major characteristic and yet encompasses the whole movement. It stems from a dissatisfaction with the term 'Happening' which is hardly appropriate as very few of all the examples of the new theatre depend upon chance procedures.
Richárd Kostelanetz's critical approach is that of an observer, a recorder and an... Tovább

Fülszöveg

"Like many of the most importanttendencies in contemporary art, The Theatre of Mixed Meansemphasizesthe processes of creation rather than thefinal product".
Richárd Kostelanetz is, in this book, enacting his own process of critical creation - analysing an avant-garde movement in its embryonic stages. It is a theatre that "defines its presence not by the environment in which it occurs by the purposes of its participants". A theatre whose components-language, music, dance, light, sculpture, painting, as well as modern technology-function together. To define this movement more accurately he invents a new critical term -The Theatre of Mixed Means. A term which isolates the major characteristic and yet encompasses the whole movement. It stems from a dissatisfaction with the term 'Happening' which is hardly appropriate as very few of all the examples of the new theatre depend upon chance procedures.
Richárd Kostelanetz's critical approach is that of an observer, a recorder and an interpreter. He presents a critic's conversations with the leading practitioners, who explain their own intentions and describe howthey conceive and execute their own pieces :
Continued on back flap
Continued from front flap
John Cage, Ann Halprin, Róbert Rauschenberg, Allan Kaprow, Claes Oldenburg, Ken Dewey, La Monté Young, Róbert Whitman, and USCO (an artist's collective). Hisown essays offer an open-ended analysis of the newtheatre in terms of its historical, social and aesthetic meaning.
Richárd Kostelanetz is the editor of Twelve from the Sixties, The New American Arts and On Contemporary Literature. Vissza