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Musical spectacle at the Paris court of Maria de’ Medici, the Italian Minerva of France
Janie Cole

of the avant-garde Florentine accompanied monody. This took late sixteenth-century Florentine audiences of early opera by storm and soon spread to Paris, showing that despite the French court’s continued preference for ballet de cour , Maria embraced musical fashions imported from her native Italian court (see Documents 1–5 below). This chapter further suggests that Maria

in Transnational connections in early modern theatre
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Jeremy Tambling

Blanchot, the time of the ‘ and ’ which never had beginning, which may never have end: the ‘ and ’ is anti-anachronicity, between the gods who were, and will be, anachronous. 9 Perhaps art is belated. The modernist film-maker Alexander Kluge argues that literature and music have gone as far as possible in modernist practices: ‘there is no avant-garde when the avant-garde

in On anachronism
The 1988–89 NYSF Coriolanus
Robert Ormsby

neurotics, he is a talented dancer, with decades of Broadway and off-Broadway experience, including a performance opposite Worth in Tennessee Williams’s The Sweet Bird of Youth in 1975. By contrast, Papp’s decision to hire the avant-garde British director-playwright-actor Berkoff for the 1988–89 Coriolanus seems odd, to say the least. As Craig Rosen argues, ‘Berkovian’ performance ‘alludes to an

in Coriolanus
Robert Shaughnessy

hands of West Germany’s leading avant-garde director or in those of a respected university professor, indicates the cultural politics and context of Stein’s production, as well as a glimpse of the circumstances in which it was received. A situation in which Kaiser’s ‘Shakespeare books’ can be mistaken for terrorist weaponry sounds amusingly ironic, but it occurred in a time and place in which both

in As You Like It
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The minor films
Andrew James Hartley

was perceived to have lost track of its roots in popular culture, its position had been usurped by cheaper and more ubiquitous media, notably film and television, both of which were experiencing counter cultural revolutions of their own. The Hollywood studio system was collapsing by the late 1960s as new, avant garde powers were rising, surprising the industry with edgy, stylish and sometimes

in Julius Caesar
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Stephen Orgel

brought to life. The invocation of Giulio Romano is striking for a number of reasons: this is the only allusion in Shakespeare to a modern artist and, indeed, one of the earliest references to Giulio in England – Shakespeare here, as nowhere else, appears to be in touch with the avant-garde of the visual arts. But Giulio was not a sculptor, and in fact the name is all the play gives us – as

in Spectacular Performances
King Lear and the King’s Men
Richard Wilson

show how for modernism autonomy is ultimately self-consuming. 94 These texts thereby address what Theodor Adorno identified as the problematic of ‘the artfulness of all anti-art’, which arose when modern art’s isolation from social function or economic support induced a sense of its futility, and the avant-garde artwork emerged as the attempt to criticize and overcome this writer’s block. To be sure

in Free Will
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Nicholas Royle

, but something happens and the text is produced: Carroll wasn’t an avant-garde theoretician but a scholar, worried by the fact that, in spite of himself, his knowledge was undermining institutions’ (234). It has to do with a spiral logic, not a static ‘curious’ but the disappearing effects of a ‘curiouser and curiouser’, with Cixous racing, as ever, like a rabbit, bird, cat, Cixous, towards this prophetic deconstruction, the secret that escapes. This is how she summarises Carroll’s text, proffering an alternative title: Alice Through the

in Hélène Cixous
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The visual turn in Antony and Cleopatra
Richard Wilson

as a showcase for ‘royalism in the arts’, which ‘presents a Jacobean audience with a mirror’, and veils absolutist ideology in avant-garde forms. 91 But it thereby turns the tragedy inside-out, since it ignores the wryness with which this play about the ‘size of dreaming’ [ 5,2,97 ] reverses such grandiosity by ‘yawning at alteration’ on the Stuart stage. For while a masque elided the difference

in Free Will
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‘Ariachne’s broken woof’
Janice Valls- Russell, Agnès Lafont, and Charlotte Coffin

precedent of a number of late Greek short epics that enjoyed widespread visibility in the early modern period. The mode of reading that these brief epics invite as a genre shaped the English poetic tradition in ways that have not been properly appraised before. Across the chapter, Demetriou proposes a revaluation of the contribution to 1590s poetic culture of Thomas Watson, avant-garde versifier and exceptional

in Interweaving myths in Shakespeare and his contemporaries