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Avant-gardism in children's theater:...

Cirella, Anne Violette.

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Avant-gardism in children's theater: The use of absurdist techniques by Anglophone children's playwrights.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Avant-gardism in children's theater: The use of absurdist techniques by Anglophone children's playwrights./
作者:	Cirella, Anne Violette.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1998,
面頁冊數:	245 p.
附註:	Source: Dissertation Abstracts International, Volume: 59-06, Section: A, page: 2007.
Contained By:	Dissertation Abstracts International59-06A.
標題:	Comparative literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9837931
ISBN:	9780591915457

Avant-gardism in children's theater: The use of absurdist techniques by Anglophone children's playwrights.
Cirella, Anne Violette.

Avant-gardism in children's theater: The use of absurdist techniques by Anglophone children's playwrights. - Ann Arbor : ProQuest Dissertations & Theses, 1998 - 245 p.

Source: Dissertation Abstracts International, Volume: 59-06, Section: A, page: 2007.

Thesis (Ph.D.)--The University of Texas at Austin, 1998.

Children's theatre is too often perceived as a sub-theatre that never reaches the technical and thematic sophistications found in adult drama. This reductive view does not do justice to the aesthetic and historical value of children's theatre, which is not a derivation of the adult drama, but an autonomous theatrical practice that has not only evolved parallel to adult drama but has also contributed to the formation of adult avant-garde schools of drama. The historical intersection of adult drama with children's theatre is the point of departure for the reconsideration of this neglected field as high theatre and not as a sub-theatre any longer.

ISBN: 9780591915457Subjects--Topical Terms:

570001
Comparative literature.

Avant-gardism in children's theater: The use of absurdist techniques by Anglophone children's playwrights.
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520 $a Children's theatre is too often perceived as a sub-theatre that never reaches the technical and thematic sophistications found in adult drama. This reductive view does not do justice to the aesthetic and historical value of children's theatre, which is not a derivation of the adult drama, but an autonomous theatrical practice that has not only evolved parallel to adult drama but has also contributed to the formation of adult avant-garde schools of drama. The historical intersection of adult drama with children's theatre is the point of departure for the reconsideration of this neglected field as high theatre and not as a sub-theatre any longer.
520 $a The first step of its rehabilitation will be the claim that there is an avant-garde in children's theatre. To prove this claim, the study compares the French theatre of the Absurd with the Anglophone Absurdist children's theatre of the 1960s to argue that both movements intersect historically and aesthetically while diverging in their socio-critical goals.
520 $a French playwright Alfred Jarry's use of the puppet theatre, especially Punch and Judy, in his play Ubu roi (1896) and American children's playwright Aurand Harris' use of the same tradition in Punch and Judy (1970) is the first set of comparisons. The shared dramaturgy and the ways in which each playwright adapts a common source genre for his respective targeted audience underscore how both authors continue a single tradition of social critical drama. French playwright Eugene Ionesco's Les chaises (1952) and British children's playwright Mary Melwood's The Tingalary Bird (1964) form the second case study that explores the adaptation of another common source genre, the farce, in two more Absurdist plays.
520 $a Such a comparative approach to the study of children's drama underscores how children's theatre offers a remarkable point of entry into the pressing issues of contemporary drama. The conclusion argues that theatre historians interested in audience reaction should extend their study of avant-garde theatre to include children's theatre.
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