Manifesto = theatre

Theatre Journal

Volumn 54, Issue 3, 2002, Pages 449-465

  Puchner, Martin ^a,b  

^a Department of English and Comparative Literature ^*

^b Och Spine at New York Presbyterian Hospitals

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949830563     PISSN: 01922882     EISSN: 1086332X     Source Type: Journal    
DOI: 10.1353/tj.2002.0095     Document Type: Review

References (35)

1. Richard Foreman, "Ontological-Hysteric Manifesto I," in Plays and Manifestos, ed. Kate Davy (New York: New York University Press, 1976), 67
2. The classical studies of the avant-garde follow this pattern. For example see Peter Bürger's Theorie der Avantgarde (Frankfurt am Main: Suhrkamp, 1974)
3. and Maurice Nadeau, The History of Surrealism, trans. Roger Shattuck (New York: Macmillan, 1965)
4. More recently, Richard Sheppard continues this type of historiography of the avant-garde in his Modernism - Dada - Postmodernism (Evanston: Northwestern University Press, 2000)
5. J. L. Austin, How to Do Things with Words (Cambridge: Harvard University Press, 1962), 14
6. Jon McKenzie, Perform or Else: From Discipline to Performance (London: Routledge, 2001)
7. "Critical Art Ensemble: Tactical Media Practitioners: An Interview by Jon McKenzie and Rebecca Schneider," TDR: The Drama Review 44.4 (2000): 136-50, 139
8. Perry Anderson, The Origins of Postmodernity (London: Verso, 1998), 93
9. Return, for Dogma, means a diminished mediation, especially of synchronized sound. All sound must be recorded during the shooting of the film, giving Dogma films their documentary character. This and other ways of banishing techniques of manipulation and mediation, such as artificial lighting, lead to the attempt to recuperate the liveness of the theatre. Indeed, what is striking about most Dogma films is that they are centered on the actor, and usually make use of the entire repertoire of melodrama, supported by the melodramatic plots, one of the dimensions of film-making that is not treated in the manifesto
10. Alain Badiou, Manifesto for Philosophy, trans. and ed. Norman Madarasz (Albany: State University of New York Press, 1999)
11. See especially the essays "The (Re)turn of Philosophy Itself" and "Definition of Philosophy."
12. Rem Koolhaas, Delirious New York: A Retroactive Manifesto for Manhattan (New York: The Monacelli Press, 1994)
13. Janet Lyon, Manifestoes: Provocations of the Modern (Ithaca: Cornell University Press, 1999)
14. At a later date, Breton would try to distance himself from both his dictatorial behavior and the "violence of expression" used in his manifestos to the "revolutionary literature" circulating at the time. André Breton, Manifestoes of Surrealism, trans. Richard Seaver and Helen R. Lane (Ann Arbor: The University of Michigan Press, 1972), 115
15. Archive Sohn, Staatsgalarie, Stuttgart, quoted in Owen Smith, "Developing a Fluxable Forum: Early Performance and Publishing," in Fluxus Reader, ed. Ken Friedman (Chichester: Academy Editions, 1998), 3-21, 3
16. John Cage, Lectures and Writings by John Cage: Silence (Hanover: Welseyan University Press, 1961), xii
17. Tristan Tzara, "Manifest Dada 1918," in DADA total: Manifeste, Aktionen, Texte, Bilder, ed. Karl Riha and Joerg Schaefer (Stuttgart: Reclam, 1994), 35
18. It is only recently, through the work of a few editors and commentators that the manifesto as a genre has begun to attract systematic critical and theoretical attention. Insightful studies have been devoted to this genre by Claude Abastado, who edited a special issue, Littérature 39 (1980)
19. Collections of manifestos have been presented by Wolfgang Asholt and Walter Fähnders, ed., Manifeste und Proklamationenen der europäischen Avantgarde (1909-1938) (Stuttgart: Metzler, 1995)
20. More recently still, Mary Ann Caws presented the first comprehensive collection of manifestos in English: Caws, ed., Manifesto: A Century of Isms (Lincoln: University of Nebraska Press, 2001)
21. Marjorie Perloff, The Futurist Moment: Avant-garde, Avant Guerre, and the Language of Rupture (Chicago: The University of Chicago Press, 1986)
22. This critique parallels in part the one made by Hal Foster in his Return of the Real, where he argues that it was only through the so-called neo-avant-garde that the original, historical avant-garde was retroactively created. Hal Foster, The Return of the Real: The Avant-Garde at the End of the Century (Cambridge: MIT Press, 1996)
23. The function of the pamphlet in the construction of a revolutionary public was first outlined by the path-breaking work of Roger Chartier, The Cultural Origins in the French Revolution, trans. Lydia G. Cochrane (Durham: Duke University Press, 1991)
24. The subtitle of Greil Marcus's Lipstick Traces: A Secret History of the Twentieth Century (Cambridge: Harvard University Press, 1989)
25. Günther Berghaus, Italian Futurist Theatre 1909-1944 (Oxford: Clarendon Press, 1998)
26. Martin Puchner, "Screeching Voices: Avant-garde Manifestos in the Cabaret," in European Avantgarde: New Perspectives, ed. Dietrich Scheunemann (Amsterdam: Rodopi, 2000), 113-35
27. Kenneth Burke, A Grammar of Motives (Berkeley: University of California Press, [1954] 1969), 200ff
28. Jacques Derrida, Specters of Marx: The State of the Debt, the Work of Mourning & the New International, trans. Peggy Kamuf (New York: Routledge, 1994)
29. Also see Martin Harries, Scare Quotes from Shakespeare: Marx, Keynes, and the Language of Reenchantment (Stanford: Stanford University Press, 2000)
30. Karl Marx, Friedrich Engels, Manifest der Kommunistischen Partei (1848, Stuttart: Reclam Verlag, 1969), 19
31. This climactic showdown is cast in terms of two textual genres, for the battle between the specter and the party becomes a battle between the "nursery tale" and the manifesto. The manifesto, it turns out, is an anti-fairy tale, and it is through an attack on the fairy tale, which was just at the height of its nineteenth-century resurgence, that the manifesto constitutes itself. The manifesto casts itself as the protagonist in a generic struggle and takes the occasion of the preamble to reflect on its own use and function
32. Jonas Barish, The Antitheatrical Prejudice (Berkeley: University of California Press, 1981)
33. Antonin Artaud, Le Théâtre et son Double, in Oeuvres Complètes, vol. 4 (Paris: Gallimard, 1956-74). It appeared for the first time in NRF in 1932
34. One can hear echoes of this manifesto tone in Artaud's later radio works, in particular his "To Have Done with the Judgement of God," in Oeuvres Complètes, vol. 13. Here, Artaud uses the whole vocal repertoire, from the lowest to the highest sounds, falling with regularity into a screaming that attacks the listener with direct force. It is a language of sounds, cries whose radical gestures try everything to throw off the stratification of language
35. Based on an analysis of Artaud's critique of representation, Derrida argues that the Theatre of Cruelty can never be faithfully realized in any theatre. Jacques Derrida, "Le théâ;tre de la cruauté et la clôture de la représentation," in L'écriture et la différence (Paris: Editions du Seuil, 1967), 364