"Preservation, Radicalism, and the Avant-Garde Canon"interrogates the contemporary significance of the avant-garde. The contributors question the role of academia and exhibition cultures in redefining, reshaping, preserving, and transmitting the products of this historical phenomenon. Such contemporary scholarly and exhibition-based exploration institutionalizes avant-garde productions and, in doing so, threatens the potency of the avant-garde which relies on its marginal position. This volume brings together case studies to examine what constitutes the avant-garde canon."

Niebisch retraces how the early Avant-Garde movements started out as parasites inhabiting and irritating the emerging mass media circuits of the press, cinema, and wired and wireless communication and how they aimed at creating a media ecology based on and inspired by technologies such as the radio and the photo cell.

Sound experimentation by avant-garde theatre artists of the late-nineteenth and early-twentieth centuries is an important but ignored aspect of theatre history. Curtin explores how artists engaged with the sonic conditions of modernity through dramatic form, characterization, staging, technology, performance style, and other forms of interaction.

Generally taking place in front of closed curtains during set changes between acts, the entr'acte delivers a fleeting new purpose and event to the otherwise sometimes inert space between stage and pit. This collection employs the entr'acte as a model for conceptualizing emerging formations of publics and of public space.

Generally taking place in front of closed curtains during set changes between acts, the entr'acte delivers a fleeting new purpose and event to the otherwise sometimes inert space between stage and pit. This collection employs the entr'acte as a model for conceptualizing emerging formations of publics and of public space.

Niebisch retraces how the early Avant-Garde movements started out as parasites inhabiting and irritating the emerging mass media circuits of the press, cinema, and wired and wireless communication and how they aimed at creating a media ecology based on and inspired by technologies such as the radio and the photo cell.

Sound experimentation by avant-garde theatre artists of the late-nineteenth and early-twentieth centuries is an important but ignored aspect of theatre history. Curtin explores how artists engaged with the sonic conditions of modernity through dramatic form, characterization, staging, technology, performance style, and other forms of interaction.

This volume is a collection of scholarly articles and interviews with intermedial artists working with the concepts of public sphere at the intersection of aesthetics and politics.

It brings together theoretical academic texts by established and emerging scholars alike, exposing perspectives form different fields (philosophy, cultural studies, performance studies, theater studies, and dance studies) as well as from different geopolitical contexts.

This book examines the influence of the early modern period on Antonin Artaud's seminal work The Theatre and Its Double, arguing that Elizabethan and Jacobean drama and their early modern context are an integral part of the Theatre of Cruelty and essential to its very understanding.