Avant-Garde Performance and Material Exchange

1. Front Matter

   Pages i-xi

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2. Introduction

   1. Introduction

      • Mike Sell

      Pages 1-14

3. Intersections

   1. Front Matter

      Pages 15-15

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   2. Introduction

      • James M. Harding

      Pages 17-22

   3. From Italy and Russia to France and the U.S.: “Fascist” Futurism and Balanchine’s “American” Ballet

      • Patricia Gaborik, Andrea Harris

      Pages 23-40

   4. Confessions of a Failed Theatre Activist: Intercultural Encounters in Uganda and Rwanda

      • Laura Edmondson

      Pages 41-59

   5. The Living Theatre’s Arrested Development in Brazil: an Intersection of Activist Performances

      • Cindy Rosenthal

      Pages 60-76

4. Translations

   1. Front Matter

      Pages 77-77

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   2. Introduction

      • Jean Graham-Jones

      Pages 79-84

   3. “Powerful Disseminator of Radical Thought”: Anarchism and the Introduction of Modern Western Theatre to China

      • Siyuan Liu, Andrea Harris

      Pages 85-102

   4. Translation, Typography, and the Avant-Garde’s Impossible Text

      • Sarah Bay-Cheng

      Pages 103-121

   5. Maoist Performativities: Milton Acorn and the Canadian Liberation Movement

      • Alan Filewod

      Pages 122-139

5. Divergences

   1. Front Matter

      Pages 141-141

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   2. Introduction

      • Alan Filewod

      Pages 143-148

   3. Avant-Garde Becomes Nationalism: Immortalizing Nam June Paik in South Korea

      • Esther Kim Lee

      Pages 149-166

   4. The Avant-Garde of Necessity: the Protest Theatre Movement in Zimbabwe

      • Praise Zenenga

      Pages 167-187

   5. The Ians in the Audience: Punk Attitude and the Influence of the Avant-Garde

      • Graham White

      Pages 188-206

   6. Afterword The Avant-Garde and Vector Studies: A Roundtable

      • Alan Filewod, James M. Harding, Jean Graham-Jones, Kimberly Jannarone, Mike Sell

      Pages 207-219

6. Back Matter

   Pages 220-228

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Assembling a remarkable group of scholars, these essays explore how the circulation and exchange of 'vectors of the radical' shape the avant-garde. Mapping the movement of scripts, theatre activists, performances, and other material entities, they provide unprecedented perspectives on the transnational performance culture of the avant-garde.

• America
• avant-garde
• ballet
• China
• culture
• essay
• France
• futurism
• Italy
• John Milton
• living
• performance
• theatre
• translation
• typography

• Indiana University, USA

  Mike Sell

LAURA EDMONDSON Assistant Professor, Dartmouth College, USA ALAN FILEWOD Professor of Theatre Studies, University of Guelph, Canada PATRICIA GABORIK Independent Scholar, Italy JEAN GRAHAM-JONES Professor of Theatre, the Graduate Center of the City University of New York, USA JAMES HARDING Professor of English, University of Mary Washington, USA ANDREA HARRIS Assistant Professor of Dance, University of Wisconsin-Madison, USA KIMBERLY JANNARONE Associate Professor of Theater Arts, University of California, Santa Cruz, USA ESTHER KIM LEE Associate Professor in the Department of Theatre and the Asian American Studies Program, University of Illinois, Urbana-Champaign, USA SIYUAN LIU Assistant Professor of Theatre, University of British Columbia, Canada. CINDY ROSENTHAL Associate Professor of Drama and Dance, Hofstra University, USA GRAHAM WHITE Reader in Drama and Creative Practice, Roehampton University, UK PRAISE ZENENGA Assistant Professor in the Africana Studies Program, University of Arizona at Tucson, USA

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