Richard Foreman and the Ends of an Avant-Garde
Bibliographic Data
| ID | 4923550 |
|---|---|
| Authors | Martin Harries (corresponding author) |
| Year | 2004 |
| Volume | 56 |
| Issue | 1 |
| Pages | 83-96 |
| Publication date | 2004-03-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Theatre Journal (JOURNAL) |
| Journal identifiers | ISSN: 0192-2882 • E-ISSN: 1086-332X |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/tj.2004.0020 |
| OpenAlex | W1999836539 |
| Language | EN |
| References cited | 5 |
Foreman's recent productions at once rehearse and question some of the central projects of the twentieth-century avant-garde. Foreman engages the avant-garde faith in the political force of experimental practices that evoke psychic depth. Examining some of his theoretical manifestoes and two of his recent productions, Paradise Hotel (1999) and Now that Communism is Dead, My Life Feels Empty! (2001), this essay argues that Foreman's staged work interrogates the terms of his theoretical work. In his theoretical writing, Foreman suggests that his Ontological-Hysteric Theater uses the theatrical staging of hysterical forms to evoke essential ontological ground. In his recent productions, the technological apparatus of his plays points instead to a very different psychic topography, where the depth to which his theater can aspire is that of the mass cultural media he uses in his intense stagings
Aesthetics · Art · Art history · Avant garde · Bad faith · Communism · Epistemology · Faith · Paradise · Political science · Politics · Psychic · Sociology · Law · Philosophy · Theatre and Performance Studies
| Highly cited | No |
|---|