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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.

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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
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
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
Siebe Bluijs

between the individual elements. Montage and collage While both scholars argue that the technique is inherent to the radio medium, Arnheim and Benjamin present two contradicting interpretations of the affordances that montage offers for radio drama: ‘streamlining’ and ‘interruption’ respectively. The difference between these interpretations offers a guiding principle to understand the artistic strategy that is central to this chapter: collage. Collage is one of the defining techniques of the (neo-)avant-garde (Bürger, 1974 : 77). It is commonly defined as the

in Tuning in to the neo-avant-garde
An audionarratological analysis of Andreas Ammer and FM Einheit’s Lost & Found: Das Paradies
Jarmila Mildorf

a problem, since they seem to suggest that the artwork is not ‘ahead’ of its time but is very much ‘with’ it or even retrogressing from it. However, these things only pose a problem if we take it for granted that being avant-garde involves trying to supersede previous artistic methods and dismantling art as such. And yet Lehmann has argued, as I outlined above, that trying to overcome postmodernism may indeed involve a serious going to back to traditional forms and a reinstitution of the artwork, its medium and its reflexion. What makes Lost & Found neo-avant-garde

in Tuning in to the neo-avant-garde
Roland Innerhofer

. Hauer integrated this technique into a universal system by assigning the tones to colours or food. The twelve-tone technique reflects a growing degree of abstraction in human perception and art that dates back to the beginning of the twentieth century. Rühm’s radio plays take up this tendency when they transform language into music. The resulting process of abstraction can be regarded as representative of the neo-avant-garde’s particular approach to radio plays. This chapter will analyse which semiotic function the acoustic material – sound, word, noise and music

in Tuning in to the neo-avant-garde
Identity and community among migrant Latin American artists in New York c. 1970
Aimé Iglesias Lukin

Introduction In the winter and spring of 1971, dozens of expatriate Latin American artists gathered in apartments and studios of New York, to discuss politics and art, and – although they did not know it – to reclaim the identity of Latin American art. Through their activism and common art practice, they were able to contest stereotyping labelling of the region’s culture and to gain visibility in the competitive milieu of the Big Apple, collectively creating a space of their own. Their case brings light to the diversity of the neo avant-garde movements of

in Art and migration
Kuba Szreder

, criticising the limitations of modernist art theory, have emerged and been developed since in the context of site specificity (Kwon 2002 ), ethnographically oriented art (Foster 1995 ), the expediency of culture (Yúdice 2003 ), dialogic practices (Kester 2004; 2011 ), neo-avant-gardes (Léger 2012 ; Roberts 2015 ), collectivism (Stimson and Sholette 2007 ; WHW 2005 ), new genres of public art (Lacy 1995 ), relational aesthetics and participatory art (Bishop 2006; 2012 ; Bourriaud 2002 ), political art-activism (Malzacher 2014 ; Thompson 2012 ), durational

in The ABC of the projectariat
Representation and the real in the twentieth-century avant-gardes
Liz Tomlin

drawing implicitly, or explicitly, on the avant-gardes of the twentieth century in relation to their experimentation with form and their desire to position themselves as radical practice. My particular historical overview of the avant-gardes will focus on their common and recurring tendency to develop a narrative of radical opposition through challenges to received notions of the real as reflected in the representational strategies of dramatic theatre. I will trace this antagonism from the historical avant-garde, through the postwar, or neo, avant-gardes, and into early

in Acts and apparitions