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Sound is born and dies with action. In this surprising, resourceful study, Mladen Ovadija makes a case for the centrality of sound as an integral element of contemporary theatre. He argues that sound in theatre inevitably "betrays" the dramatic text, and that sound is performance. Until recently, theatrical sound has largely been regarded as supplemental to the dramatic plot. Now, however, sound is the subject of renewed interest in theatrical discourse. Dramaturgy of sound, Ovadija argues, reads and writes a theatrical idiom based on two inseparable, intertwined strands - the gestural, corporeal power of the performer’s voice and the structural value of stage sound. His extensive research in experimental performance and his examination of the pioneering work by Futurists, Dadaists, and Expressionists enable Ovadija to create a powerful study of autonomous sound as an essential element in the creation of synesthetic theatre. Dramaturgy of Sound in the Avant-garde and Postdramatic Theatre presents a cogent argument about a continuous tradition in experimental theatre running from early modernist to contemporary works.

Stage design. Scenography --- Theaters --- Experimental theater --- Avant-garde (Aesthetics) --- Théâtres --- Théâtre expérimental --- Avant-garde (Esthétique) --- Sound effects. --- History and criticism. --- Effets sonores --- Histoire et critique --- Théâtres --- Théâtre expérimental --- Avant-garde (Esthétique) --- Aesthetics --- Modernism (Art) --- Alternative theater --- Avant-garde theater --- Theater --- Sound effects in theaters --- Electronic sound control --- Stage-setting and scenery

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L’irruption du postmodernisme a favorisé la critique des avant-gardes artistiques du XXe siècle, des idéologies qui les avaient portées et même des œuvres qu’elles avaient produites. Ces mises en cause ont occulté autant que révélé un ensemble de questions théoriques et historiographiques. Que signifie la fin des avant-gardes ? De quelle histoire celles-ci relèvent-elles ? Comment évaluer la force durable des œuvres, indépendamment des discours qui ont accompagné leur création ? Que nous disent-elles de notre modernité ? Ce livre prolonge l’ultime préoccupation du philosophe Rainer Rochlitz (1946-2002) dans le domaine de l’esthétique : repenser les relations entre l’art, la société et le politique. Réunis initialement au sein d’un séminaire à l’EHESS, les auteurs de ce volume, spécialistes des arts plastiques, de la photographie, de la musique, de la littérature ou de l’esthétique, proposent une réflexion sur les modes d’attribution de sens et de valeur à l’art moderne et aux avant-gardes historiques.

Art, Modern --- Avant-garde (Aesthetics) --- Aesthetics, Modern --- Art --- Avant-garde (Esthétique) --- Esthétique moderne --- Philosophy --- History --- Philosophie --- Histoire --- Rochlitz, Rainer. --- Rochlitz, Rainer --- Avant-garde (Esthétique) --- Esthétique moderne --- Art, Modern - 20th century - Philosophy --- Avant-garde (Aesthetics) - History - 20th century --- Aesthetics, Modern - 20th century --- Arts, Modern --- avant-garde --- histoire de l’art --- art moderne

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L’année 1914 marque la rencontre entre l’avant-garde artistique et l’avant-garde militaire, deux champs qui n’ont cessé d’entrer en friction depuis le XIXe siècle, sans jamais s’identifier l’un à l’autre pour autant. En 1914, ces frottements sont tout particulièrement sensibles dans les relations entre les arts visuels et l’histoire, dans un moment où la crise de la conscience européenne se cristallise en catastrophe radicale. L’analyse des relations entre l’avant-garde artistique et la guerre, dans les limites de l’année 1914, permet de penser la situation intellectuelle et pratique de la création visuelle pendant les six premiers mois « ordinaires » de l’année, et de comprendre la nature des prises de conscience provoquées par la déclaration de guerre ainsi que par les premiers combats. Ce livre explore les strates de sens inscrites dans les œuvres et les objets, les orientations du goût et du marché, les pensées et les discours critiques et théoriques, afin de faire l’anatomie de ce qui s’est brisé dans les représentations occidentales dans ce temps court – mais essentiel – de l’histoire et de l’art du XXe siècle.

Avant-garde (esthétique) --- Guerre mondiale (1914-1918) -- Art et guerre --- Art et guerre --- Guerre mondiale (1914-1918) --- Avant-garde (Aesthetics) --- World War, 1914-1918 --- Avant-garde (Esthétique) --- Guerre mondiale, 1914-1918 --- Première guerre mondiale --- History --- Art and the war. --- Literature and the war. --- Histoire --- Littérature et guerre --- Avant-garde (Esthétique) --- Première guerre mondiale --- Littérature et guerre --- Art et guerre. --- Aesthetics --- Modernism (Art) --- art --- modernité --- tradition --- 1914

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This compact, indispensable overview answers a vexed question: Why do so many works of modern and postmodern literature and art seem designed to appear ‘strange’, and how can they still cause pleasure in the beholder? To help overcome the initial barrier caused by this ‘strangeness’, the general reader is given an initial, non-technical description of the ‘aesthetic of the strange’ as it is experienced in the reading or viewing process. There follows a broad survey of modern and postmodern trends, illustrating their staggering variety and making plain the manifold methods and strategies adopted by writers and artists to ‘make it strange’. The book closes with a systematic summary of the theoretical underpinnings of the ‘aesthetic of the strange’, focussing on the ways in which it differs from both the earlier ‘aesthetic of the beautiful’ and the ‘aesthetic of the sublime’. It is made amply clear that the strangeness characteristic of modern and postmodern art has ushered in an entirely new, ‘third’ kind of aesthetic – one that has undergone further transformation over the past two decades. Beyond its usefulness as a practical introduction to the ‘aesthetic of the strange’, the present study also takes up the most recent, cutting-edge aspects of scholarly debate, while initiates are offered an original approach to the theoretical implications of this seminal phenomenon.

82.015.9 --- 82.01 --- 82.01 Esthetica --- Esthetica --- 82.015.9 Literaire stromingen: postmodernisme --- Literaire stromingen: postmodernisme --- Postmodernism. --- Art, Modern --- Avant-garde (Aesthetics) --- Art and literature --- Postmodernisme --- Art --- Avant-garde (Esthétique) --- Art et littérature --- History --- Histoire --- Literature and art --- Literature and painting --- Literature and sculpture --- Painting and literature --- Sculpture and literature --- Aesthetics --- Literature --- Modernism (Art) --- Affichistes (Group of artists) --- Fluxus (Group of artists) --- Schule der Neuen Prächtigkeit (Group of artists) --- Zero (Group of artists) --- Post-modernism --- Postmodernism (Philosophy) --- Arts, Modern --- Philosophy, Modern --- Post-postmodernism

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R. Bruce Elder argues that the authors of many of the manifestoes that announced in such lively ways the appearance of yet another artistic movement shared a common aspiration: they proposed to reformulate the visual, literary, and performing arts so that they might take on attributes of the cinema. The cinema, Elder argues, became, in the early decades of the twentieth century, a pivotal artistic force around which a remarkable variety and number of aesthetic forms took shape. To demonstrate this, Elder begins with a wide-ranging discussion that opens up some broad topics concern

Modernisme (Art) --- Avant-garde (Esthetique) --- Art et cinema. --- Modernism (Art) --- Avant-garde (Aesthetics) --- Art and motion pictures. --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Aesthetics --- Art and moving-pictures --- Motion pictures and art --- Motion pictures --- Eisenstein, Sergei, --- Eisenstein, Sergei M., --- Eisenstein, Sergej, --- Эйзенштейн, Сергей Михайлович, --- Ėĭzenshteĭn, Sergeĭ Mikhaĭlovich, --- Айзенштайн, Сергей Михайлович, --- Aĭzenshtaĭn, Sergeĭ Mikhaĭlovich, --- Ejzenštejn, --- Ejzenštejn, S. M., --- Еисенстеин, Сергей Михайлович, --- Eisenstein, Sergeĭ Mikhaĭlovich, --- Ejzenstein, --- Ejzenstein, S. M., --- Eisenstein, --- Eisenstein, Serge, --- Eisenstein, S. M., --- Ejzenštejn, Sergej, --- Eisenstein, S. --- Эйзенштейн, С. М. --- Ėĭzenshteĭn, S. M. --- Aisan̲sṭin̲, Cerji, --- Aizenshṭain, Sergai, --- איזנשטיין , סרגיי --- Eisenstein, Serguei M., --- Eizenstein, Sergei, --- Critique et interpretation. --- Criticism and interpretation. --- Motion pictures and the arts. --- Art et cinéma --- Avant-garde (Esthétique) --- Cinéma et arts --- Eisenstein, Sergei --- Eisenstein, Serge M.,