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- W2800274707 abstract "In the 1920s, director Gaston Baty and playwright Henri-Rene Lenormand developed with the plays Le Simoun and A l’ombre du mal the practice of an art that would become known as the “exotic avant-garde theater.” This paper examines the way in which the two partners, while claiming to break free from the “Orient of the music-hall,” reproduced the codes of the most conventional orientalism. Initially, the study of the playwright’s work reveals a concern for realism that stands out from the exotic theatrical production of the time, a distinction the collaborators proudly claimed. However, the director’s goal was to “give the illusion of another, more beautiful, world,” thus favoring atmospheric effects over the text itself. This hiatus led to a biased reception of the two plays since critics did not really make a difference between those and other, more conventional exotic plays. In sum, the outcome of the oriental references summoned during the different stages of the making of this type of show, namely writing, staging, and critical reception, were somewhat remote from the ambitions initially expressed by the two partners." @default.
- W2800274707 created "2018-05-17" @default.
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- W2800274707 date "2011-01-01" @default.
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- W2800274707 title "The Paradox of the Exotic Avant-Garde Theater in the 1920s" @default.
- W2800274707 hasPublicationYear "2011" @default.
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