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Experimental radio plays in the postwar period

Tuning in to the neo-avant-garde offers the first in-depth study of the radio play’s significance for the neo-avant-garde. In the postwar period, radio began to function as a site of artistic experimentation for the literary neo-avant-garde, especially in the form of the radio play. In the wake of the historical avant-garde, the neo-avant-garde had a strong interest in aural media, in the seemingly autonomous power of sound and voice. Therefore, it is not surprising that postwar avant-garde artists and literary writers in particular all across Europe, the US and the UK started to experiment with the radio play. Neo-avant-garde artists actively engaged with newly created studios and platforms in the postwar period. The contributions to this book examine how the radiophonic neo-avant-garde stages political questions and acknowledges its own ideological structure, while taking into account the public nature of radio. Alongside these cultural and political contexts, the book also reflects on intermedial and material issues to analyse how they have impacted artistic production in different parts of the world. Specific attention is paid to how artists explored the creative affordances of radio and the semiotics of auditory storytelling through electroacoustic manipulation, stereophonic positioning, montage and mixing, while also probing the ways in which they experimented in related genres and media such as music, sound poetry and theatre, questioning the boundaries between them. Because of its exclusive focus on the audiophonic realm, the book offers a valuable new perspective on the continuing debate surrounding the neo-avant-garde and its relationship with the historical avant-garde.

G. F A Gadoffre
Bulletin of the John Rylands Library
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The acoustic neo-avant-gardes between literature and radio
Inge Arteel, Lars Bernaerts, Siebe Bluijs, and Pim Verhulst

-Smith, 2013 ). In 1979 the American avant-garde composer John Cage composed Roaratorio , a radio play for electronic tapes, Irish folk music and voice, based on James Joyce’s Finnegans Wake . In the Netherlands, Lucebert and Bert Schierbeek, experimental poets of the so-called Vijftigers movement, wrote scripts for radio plays. There are numerous examples of neo-avant-garde artists experimenting with radiophonic genres, creating fascinating works of art. In fact, all over Europe and North America we can find examples of such radiophonic experimentation that uses and

in Tuning in to the neo-avant-garde
Representation and the real in the twentieth-century avant-gardes
Liz Tomlin

1 Discourses of resistance: representation and the real in the twentieth-century avant-gardes Before embarking on an investigation of performance practice and theory from the 1990s onwards, it is necessary to take a look back over the twentieth century at the practices and theories that laid the ground for such work and that are still visibly influential in the later period that is the focus of this study. This chapter will argue that the new performance practices that emerged in the 1990s and 2000s are predominantly categorised by artists and scholars as

in Acts and apparitions
Apollinaire in Freddy de Vree’s multilingual radiophonic composition A Pollen in the Air
Lars Bernaerts

Lars Bernaerts In the study of the neo-avant-garde, the notion of institutions is a crucial one. Peter Bürger considers ‘the attack on the institution of art and the revolutionizing of life’ (Bürger, 2010 : 696) as the core of the avant-garde: ‘The unification of art and life intended by the avant-garde can only be achieved if it succeeds in liberating aesthetic potential from the institutional constraints which block its social effectiveness’ (Bürger, 2010 : 696). In the neo-avant-garde, however, the historical avant-garde is itself institutionalised

in Tuning in to the neo-avant-garde
William Marx

-Fournier’s Le Grand Meaulnes , Paul Géraldy’s Toi et moi and Maurice Barrès’ La Colline inspirée , which cannot in any way be described as examples of progressive art. What are we supposed to do with such a heterogeneous landscape? The history of art and literature is not just about going forward: what about those who not only are left behind, but choose to go backwards and sometimes do so willingly? There is a whole world hidden behind the luscious front window of avant-gardes, and we should be able to inspect that back room of history. However, we will never be able to

in 1913: The year of French modernism
Caryl Churchill’s Identical Twins as neo-avant-garde (radio) drama
Pim Verhulst

Pim Verhulst (Late) modernism, the (neo-)avant-garde and postdramatic theatre During the period of ‘high modernism’, traditionally placed before the Second World War, literary innovation in Britain is typically perceived to have been driven by poetry and prose, not so much by drama. As Peter Childs observes in his Routledge introduction to modernism, ‘it is fair to say that Modernism had less impact on writing for the theatre in Britain than on fiction and poetry’ ( 2017 : 110). In The Cambridge Companion to Modernism , Christopher Innes even

in Tuning in to the neo-avant-garde
Chagall’s Homage to Apollinaire and the European avant-garde
Annette Becker

The 1912 painting Homage to Apollinaire was the work of a Russian artist who lived in Paris, Marc Chagall, and stands out in art history as a synthesis of the links – real, virtual and concealed – tying together the European avant-garde, what Apollinaire termed ‘the most radical’ of artistic movements. 2 The term ‘avant-garde’, 3 which arose in military discourse, enabled artists to appropriate a culture of conflict, of ‘progress’, of innovation, of a break with conventional artistic tradition and the academy. It entailed a move towards utopia, as

in 1913: The year of French modernism
An audionarratological analysis of Andreas Ammer and FM Einheit’s Lost & Found: Das Paradies
Jarmila Mildorf

Jarmila Mildorf Preliminary reflections: the avant-garde today In a survey article about German radio play productions in the 1990s, Knut Hickethier assessed Andreas Ammer’s work by saying that ‘Ammer was concerned with deriving pleasure from destroying old conventions and with quoting text in such a way that it becomes recognisable’ (‘es geht Ammer … um das lustvolle Zerschlagen alter Konventionen und das wiedererkennende Zitieren’) ( 1998 : 142). Both points certainly also apply to Lost & Found: Das Paradies , a radio piece which Ammer co

in Tuning in to the neo-avant-garde
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Effie Rentzou

This declaration is followed by a list of countries and regions enlightened by the new French poetry: Italy, England, Spain, Russia, Latin America, North America. Apollinaire’s opening up towards an international community of poets is intertwined with a deeply nationalist stance. One could imagine that this nationalist position was formed by three years of violent war; however, the conjugation of nationalism and worldliness marked the European avant-garde already before the war, and certainly Apollinaire’s writings. In 1917 Apollinaire appears certain of Paris

in 1913: The year of French modernism