FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2883880818> ?p ?o ?g. }

• W2883880818 endingPage "164" @default.
• W2883880818 startingPage "163" @default.
• W2883880818 abstract "Reviewed by: Vanguard Performance Beyond Left and Right ed. by Kimberly Jannarone James M. Cherry Vanguard Performance Beyond Left and Right. Edited by Kimberly Jannarone. U of Michigan P, 2015. Cloth $70.00. 334 pages. In the Preface to Vanguard Performance Beyond Left and Right, editor Kimberly Jannarone confronts two thorny questions: how do scholars reconcile the problematic personal ideologies of artists with the noteworthy and influential art they create? And how do scholars consider the deployment of avant-garde artistic theories and practices—often fashioned in line with progressive and radical worldviews—in the service of totalitarian ideologies? The artistic legacies of highly influential cultural figures like Leni Riefenstahl, Luigi Pirandello, and Ezra Pound have been complicated by their flirtation with, or outright embrace of, European fascism. In hindsight, it is difficult not to see the echoes of Max Reinhardt's mass choreography in the grandiose spectacle of the Nuremberg Rally, or the horrors of the Second World War reflected in the apocalyptic rhetoric of the theories of Antonin Artaud. As the authors in this anthology posit through a series of case studies, avant-garde theories and practices have often been put to uses that stray from their initial avant-garde intent: a rebellion against the cultural status quo. The authors in this collection illuminate the traces of the theatrical avant-garde in the service of all manner of extremist political ideologies, including English and Italian fascism, Nazism, communism, global jihadism, Christian fundamentalism, and authoritarian dictatorship. In exploring how politics and performance can make the very strangest of bedfellows, the authors of Vanguard Performance confront a dissonance both fascinating and surprisingly pervasive. Jannarone offers the term vanguard in place of avant-garde as a way to restore ideological flexibility to the analysis of experimental dramaturgy (6). For Jannarone, the concept of vanguardism disentangles politics from dramaturgy, unbinding the progressive intent of the theatre creator from the way in which the theatre is deployed. Jannarone divides the essays into somewhat arbitrary sections dedicated to various topics. In Heroic Vanguards and Radical Reactionaries, the focus is on the use of performance to remake society, in Exalted and En Masse, the authors consider how mass and immersive performances can serve right-wing and totalitarian ideals, (9) and the final section Research Wings for the Right is centered on the concept of left-wing performances as idea-generation (11) machines for right-wing causes. While some of the pieces have appeared in other forms and forums—including the first essay in the collection, Richard Schechner's 9/11 as Avant-Garde Art?—the chapters cover a vast spectrum of ideologies. In fact, given the wide swath of right-leaning perspectives encountered in Vanguard Performance, the juxtaposition of such radically distinctive subjects in the same collection can be initially jarring. Italian fascism, Islamist radicalism, and Christian fundamentalism in the United States may all be understood to be conservative only by using a particularly broad sense of the term. By casting the net wide, however, [End Page 163] Jannarone compels the reader to consider the strikingly effective ways in which radical dramaturgy has been deployed for various reactionary ends. To see the 9/11 attacks as a staged, mediated artwork of global reach, Christian fundamentalist Hell Houses as localized immersive theatres in the American Midwest, and the mass spectacles of German and Italian totalitarianism as refashionings of the classically-inflected modernist dance of Rudolf Laban and Isadora Duncan, is to acknowledge both the unexpected influence of avant-garde performance and potential new avenues of its scholarship. Predictably, the influence of theatre in Mussolini's Italy and Hitler's Germany is extensively covered in the collection, topics which have been written about elsewhere. It is telling that two of the strongest pieces of the collection reside outside of the early twentieth-century European focus that is most prominent in this collection: Kara Reilly's examination of the attempted coup d'état and subsequent seppuku of Japanese experimental writer Yukio Mishima, and Katherine Profeta's analysis of the mass spectacle of the opening ceremonies of the 2008 Beijing Olympics as choreographed by Zhang Yimou. Reilly's incisive analysis of Mishima's nationalist hypermasculinism as seen through the..." @default.
• W2883880818 created "2018-08-03" @default.
• W2883880818 creator A5076867617 @default.
• W2883880818 date "2018-01-01" @default.
• W2883880818 modified "2023-10-17" @default.
• W2883880818 title "Vanguard Performance Beyond Left and Right ed. by Kimberly Jannarone" @default.
• W2883880818 doi "https://doi.org/10.1353/dtc.2018.0013" @default.
• W2883880818 hasPublicationYear "2018" @default.
• W2883880818 type Work @default.
• W2883880818 sameAs 2883880818 @default.
• W2883880818 citedByCount "0" @default.
• W2883880818 crossrefType "journal-article" @default.
• W2883880818 hasAuthorship W2883880818A5076867617 @default.
• W2883880818 hasConcept C107038049 @default.
• W2883880818 hasConcept C121332964 @default.
• W2883880818 hasConcept C1276947 @default.
• W2883880818 hasConcept C142362112 @default.
• W2883880818 hasConcept C144024400 @default.
• W2883880818 hasConcept C158071213 @default.
• W2883880818 hasConcept C166957645 @default.
• W2883880818 hasConcept C17744445 @default.
• W2883880818 hasConcept C199539241 @default.
• W2883880818 hasConcept C2777733916 @default.
• W2883880818 hasConcept C2777840570 @default.
• W2883880818 hasConcept C2778653666 @default.
• W2883880818 hasConcept C2779197502 @default.
• W2883880818 hasConcept C52119013 @default.
• W2883880818 hasConcept C542948173 @default.
• W2883880818 hasConcept C94625758 @default.
• W2883880818 hasConcept C95457728 @default.
• W2883880818 hasConceptScore W2883880818C107038049 @default.
• W2883880818 hasConceptScore W2883880818C121332964 @default.
• W2883880818 hasConceptScore W2883880818C1276947 @default.
• W2883880818 hasConceptScore W2883880818C142362112 @default.
• W2883880818 hasConceptScore W2883880818C144024400 @default.
• W2883880818 hasConceptScore W2883880818C158071213 @default.
• W2883880818 hasConceptScore W2883880818C166957645 @default.
• W2883880818 hasConceptScore W2883880818C17744445 @default.
• W2883880818 hasConceptScore W2883880818C199539241 @default.
• W2883880818 hasConceptScore W2883880818C2777733916 @default.
• W2883880818 hasConceptScore W2883880818C2777840570 @default.
• W2883880818 hasConceptScore W2883880818C2778653666 @default.
• W2883880818 hasConceptScore W2883880818C2779197502 @default.
• W2883880818 hasConceptScore W2883880818C52119013 @default.
• W2883880818 hasConceptScore W2883880818C542948173 @default.
• W2883880818 hasConceptScore W2883880818C94625758 @default.
• W2883880818 hasConceptScore W2883880818C95457728 @default.
• W2883880818 hasIssue "2" @default.
• W2883880818 hasLocation W28838808181 @default.
• W2883880818 hasOpenAccess W2883880818 @default.
• W2883880818 hasPrimaryLocation W28838808181 @default.
• W2883880818 hasRelatedWork W1824940764 @default.
• W2883880818 hasRelatedWork W2121487255 @default.
• W2883880818 hasRelatedWork W2355769405 @default.
• W2883880818 hasRelatedWork W2377783875 @default.
• W2883880818 hasRelatedWork W2386349489 @default.
• W2883880818 hasRelatedWork W2393390048 @default.
• W2883880818 hasRelatedWork W2481215032 @default.
• W2883880818 hasRelatedWork W2748952813 @default.
• W2883880818 hasRelatedWork W2899084033 @default.
• W2883880818 hasRelatedWork W2790465555 @default.
• W2883880818 hasVolume "32" @default.
• W2883880818 isParatext "false" @default.
• W2883880818 isRetracted "false" @default.
• W2883880818 magId "2883880818" @default.
• W2883880818 workType "article" @default.