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- W2078725031 abstract "In the early 1960s, certain new developments in Western theatre occurred which in some ways seemed to complete the process of the re-definition of theatre that was initiated by the historical avant-garde movement at the beginning of this century. In a decisive move against the long established bourgeois, educational and commercial theatre, now theatre was explicitly being defined as the “detailed investigations of the actor-audience relationship”. As before, this new definition led to the search for new theatre spaces and genres and a new manner of using signs where the focus shifted from the semantic to the pragmatic level. Performances were held in a disused workshop (Richard Schechner's Performance Garage in New York), a factory (Ariane Mnouchkine's Theatre du Soleil in a former munitions factory in Vincennes), a slaughter house (Bremen), in cinemas (Bremen and Bochum), in an exhibition hall (the Schaubuehne Greek project), in a film studio (the Schaubuehne Shakespeare project at the Halleschen Ufer 1976–7), in a tram depot (Frankfurt), in the 1936 Olympic Stadium in Berlin (Gruber's Winterreise 1977)." @default.
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- W2078725031 date "1993-11-01" @default.
- W2078725031 modified "2023-09-25" @default.
- W2078725031 title "The Aesthetics of Disruption: German Theatre in the Age of the Media" @default.
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- W2078725031 doi "https://doi.org/10.1017/s0040557400009935" @default.
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