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  3. Beyond Text: Theater and Performance in Print After 1900

Beyond Text: Theater and Performance in Print After 1900

Jennifer Buckley
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Taking up the work of prominent theater and performance artists, Beyond Text reveals the audacity and beauty of avant-garde performance in print. With extended analyses of the works of Edward Gordon Craig, German expressionist Lothar Schreyer, the Living Theatre, Carolee Schneemann, and Guillermo Gómez-Peña, the book shows how live performance and print aesthetically revived one another during a period in which both were supposed to be in a state of terminal cultural decline. While the European and American avant-gardes did indeed dismiss the dramatic author, they also adopted print as a theatrical medium, altering the status, form, and function of text and image in ways that continue to impact both the performing arts and the book arts.

 

Beyond Text participates in the ongoing critical effort to unsettle conventional historical and theoretical accounts of text-performance relations, which have too often been figured in binary, chronological ("from page to stage"), or hierarchical terms. Across five case studies spanning twelve decades, Beyond Text demonstrates that print—as noun and verb—has been integral to the practices of modern and contemporary theater and performance artists.

 

  • Cover
  • Title Page
  • Copyright Page
  • Dedication
  • Contents
  • Acknowledgments
  • Preface
  • Introduction
  • Chapter 1. “A Place for Seeing”
  • Chapter 2. Scoring Theater
  • Chapter 3. Collective Creation and Commercial Publication
  • Chapter 4. The Body in the Book
  • Chapter 5. The Bookwork as Border Kit
  • Coda
  • Notes
  • Bibliography
  • Index
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Published: 2019
Publisher: University of Michigan Press
ISBN(s)
  • 978-0-472-12589-0 (ebook)
  • 978-0-472-07425-9 (hardcover)
Subject
  • Art:Art History
  • Theater and Performance
  • Literary Studies

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Reproduction of page 75 of Big Dance Theater's Another Telepathic Thing.

Big Dance Theater, Another Telepathic Thing (2014), page 75

From Introduction

Figure 1. Big Dance Theater, Another Telepathic Thing (Brooklyn, NY: 53rd State Press, 2014), 75. Reproduced by permission of Big Dance Theater.

A scenic design rendered as a wood engraving by Edward Gordon Craig.

Design for a Stage Scene

From Chapter 1

Figure 2. Julius Oliver [Edward Gordon Craig], “Design for a Stage Scene,” The Mask 1, no. 2 (1908): facing 8. Reproduced by permission of the Edward Gordon Craig Estate.

A scenic design rendered as a wood engraving by Edward Gordon Craig.

Design for Scene

From Chapter 1

Figure 3. Edward Gordon Craig, “Design for Scene,” The Mask 1, no. 5 (1908): facing 91. Reproduced by permission of the Edward Gordon Craig Estate.

Cover of The Mask with a woodcut of a version of the Vitruvian Man.

The Mask

From Chapter 1

Figure 4. A Vitruvian woodcut inaugurates The Mask. Craig derived the cliché from his copy of Cesare Cesariano, Di Lucio Vitruvio Polline de architectura libri dece (Como: G. da Ponte, 1521), xlix. Reproduced by permission of the Edward Gordon Craig Estate.

Book cover of Towards a New Theatre.

Towards a New Theatre

From Chapter 1

Figure 5. E. G. Craig, Towards a New Theatre (London: J. M. Dent and Sons, 1913), cover. Image courtesy of the Harry Ransom Center, University of Texas at Austin. Reproduced by permission of the Edward Gordon Craig Estate.

Wood engraving of Hamlet published in Cranach Press edition, 1930.

Hamlet and Daemon

From Chapter 1

Figure 6. E. G. Craig, “Hamlet and Daemon” (1909). William Shakespeare, The Tragedie of Hamlet Prince of Denmark (Weimar: Cranach Press, 1930), 70. Image courtesy of the Rare Books Division, New York Public Library. Reproduced by permission of the Edward Gordon Craig Estate.

Page 28 of Tragedie of Hamlet.

page of Cranach Press Hamlet 1

From Chapter 1

Figure 7. Hamlet and Horatio in conversation (Tragedie of Hamlet, 28). Image courtesy of the Rare Books Division, New York Public Library. Reproduced by permission of the Edward Gordon Craig Estate.

Pages 112 and 113 of Tragedie of Hamlet.

page of Cranach Press Hamlet 2

From Chapter 1

Figure 8. Hamlet drags the body of Polonius along the margin (Tragedie of Hamlet, 112–13). Image courtesy of the Rare Books Division, New York Public Library. Reproduced with the permission of the Edward Gordon Craig Estate.

Pages 154 and 155 of Tragedie of Hamlet.

page of Cranach Press Hamlet 3

From Chapter 1

Figure 9. Ophelia’s funeral (Tragedie of Hamlet, 154–55). Image courtesy of the Rare Books Division, New York Public Library. Reproduced by permission of the Edward Gordon Craig Estate.

Title page of Kreuzigung: Spielgang Werk VII.

title page, Kreuzigung

From Chapter 2

Figure 10. Lothar Schreyer, Kreuzigung: Spielgang Werk VII (Hamburg: Werkstatt der Kampfbühne, 1920), title page. Image courtesy of the Miriam and Ira D. Wallach Division of Art, Prints, and Photographs, New York Public Library. Reproduced by permission of Michael Schreyer.

Body-mask designs and symbols for Geliebte and Mutter.

Geliebte and Mutter, Kreuzigung

From Chapter 2

Figure 11. Lothar Schreyer’s body-mask designs and symbols for Geliebte and Mutter (Kreuzigung). Image courtesy of the Miriam and Ira D. Wallach Division of Art, Prints, and Photographs, New York Public Library. Reproduced by permission of Michael Schreyer.

Body-mask design and symbol for Mann.

Mann, Kreuzigung

From Chapter 2

Figure 12. Body-mask design and symbol for Mann (Kreuzigung). Image courtesy of the Miriam and Ira D. Wallach Division of Art, Prints, and Photographs, New York Public Library. Reproduced by permission of Michael Schreyer.

Kreuzigung, XII.

Kreuzigung 1

From Chapter 2

Figure 13. Schreyer, Kreuzigung, xii. Image courtesy of the Miriam and Ira D. Wallach Division of Art, Prints, and Photographs, New York Public Library. Reproduced by permission of Michael Schreyer.

Kreuzigung, XXIIII.

Kreuzigung 2

From Chapter 2

Figure 14. Schreyer, Kreuzigung, xxiiii. Image courtesy of the Miriam and Ira D. Wallach Division of Art, Prints, and Photographs, New York Public Library. Reproduced by permission of Michael Schreyer.

Cover of Paradise Now: Collective Creation of The Living Theatre.

Paradise Now, cover

From Chapter 3

Figure 15. Anaglyph 3-D cover for the paperback edition of Paradise Now, Collective Creation of The Living Theatre, Written down by Judith Malina and Julian Beck (New York: Vintage, 1971). Reproduced by permission of the Living Theatre and Random House.

Julian Beck’s “map” of Paradise Now.

Paradise Now theater program

From Chapter 3

Figure 16. Julian Beck’s “map” of Paradise Now as printed for distribution at performances in English-speaking countries. Living Theatre Records, Beinecke Rare Book and Manuscript Library, Yale University. Reproduced by permission of the Living Theatre.

Custom Random House logo.

Abbie Hoffman, Woodstock Nation, custom publisher's logo

From Chapter 3

Figure 17. Custom publisher’s logo for Abbie Hoffman, Woodstock Nation: A Talk-Rock Album (New York: Random House, 1969). Reproduced courtesy of Random House.

Pages 60 and 61 of Paradise Now with photographs by Gianfranco Mantegna.

Vision of the Creation of Life and Action III, Paradise Now

From Chapter 3

Figure 18. “The Vision of the Creation of Life” and “Action III” (Paradise Now, 60–61). Photographs by Gianfranco Mantegna. Reproduced by permission of the Living Theatre.

Pages 106 and 107 of Paradise Now with photograph by Gianfranco Mantegna.

Rite of Opposite Forces, Paradise Now

From Chapter 3

Figure 19. “The Rite of Opposite Forces” (Paradise Now, 106–107). Photograph by Gianfranco Mantegna. Reproduced by permission of the Living Theatre.

Carolee Schneemann kneels on a table with her right leg raised in the air while reading from Cezanne: She Was a Great Painter. She wears a white maid’s apron and has paint lines along her body.

Interior Scroll

From Chapter 4

Figure 20. Carolee Schneemann reading from Cezanne, She Was a Great Painter during a performance of Interior Scroll (1975). Photograph by Anthony McCall. Image courtesy of the Getty Research Institute. Reproduced by permission of Carolee Schneemann.

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