The Ghosts of the Avant-Garde(s): Exorcising Experimental Theater and Performance

Notes

207 notes Introduction 1. Mel gordon, Dada Performance (new york: PaJ Publications, 1987), 15. 2. hugo Ball, Flight Out of Time: A Dada Diary, trans. ann raimes, ed. John elderfield (Berkeley: University of california Press, 1996), 70. 3. Ball, Flight Out of Time, 70. 4. Mike sell, Avant-Garde Performance and Material Exchange (New York: Palgrave MacMillan, 2011), 9. 5. ronald Murphy, Theorizing the Avant-Garde (cambridge: cambridge University Press, 1999), 35. 6. sell, Avant-Garde Performance and Material Exchange, 10. 7. Sell, Avant-Garde Performance and Material Exchange, 10. 8. T. J. Demos, “Zurich Dada: The aesthetics of exile,” in The Dada Seminars, ed. Leah Dickerman (Washington Dc: Distributed art Publishers, 2005), 7–8. 9. Ball, Flight out of Time, 70. 10. Ball, Flight Out of Time, 71. 11. hugo Ball, “gadji BeriBimba,” in Dada Performance, ed. Mel gordon (new york: PaJ Publications, 1987), 41. 12. Ball, Flight Out of Time, 67. 13. John elderfield, introduction to Flight out of Time (Berkeley: U of california Press, 1996), xxvii. 14. Ball, Flight Out of Time, 67. 15. Ball, Flight Out of Time, 25. 16. greil Marcus, Lipstick Traces (cambridge: harvard UP, 1989), 215. 17. Theodor adorno, “reconciliation Under Duress,” Aesthetics and Politics (London: verso, 2007), 176. 18. Jonathan P. eburne and rita felski, “introduction,” New Literary History 41 (2010): vi. 19. eburne and felski, “introduction,” vi. 20. eburne and felski, “introduction,” ix. 21. eburne and felski, “introduction,” vii. 22. Mike sell, “resisting the Question, ‘What is an avant-garde?’,” New Literary Critique 41 (2010): 754. 23. Peter Bürger, “avant-garde and neo-avant-garde: an attempt to answer certain critics of Theory of the avant-garde,” New Literary History 41 (2010): 703. 208 | notes to Pages 13–37 24. for a thorough discussion of Bürger’s anti-theatrical bias, see James harding and John rouse’s introduction to Not the Other Avant-Garde (ann arbor: University of Michigan Press, 2006), 1–6. 25. hans-Thies Lehmann, Postdramatic Theatre [1999] (London: routledge, 2006), 48. 26. Lehmann, Postdramatic Theatre, 57. 27. in germany, for example, reaction was so strong that an entire volume of criticism was published shortly afterwards by Martin Lüdke under the title Theorie der Avantgarde: Antworten auf Peter Bürgers Bestimmung von Kunst und bürgerlicher Gesellschaft (surkamp, 1976). as is often the case, controversy did more to institutionalize the status of Bürger’s arguments than it did to lay them to rest. 28. richard schechner, “The conservative avant-garde,” New Literary History 41 (2010): 896. 29. eburne and felski, “introduction,” ix. 30. Lehmann, Postdramatic Theatre, 90. 31. Paul Mann, Theory-Death of the Avant-Garde (Bloomington: indiana University Press, 1991), 3. 32. robert radin, “The recuperation of ‘The Theory-Death of the avantgarde ’,” Diacritics 28, no. 2 (1998): 43. 33. roland Barthes, The Pleasure of the Text, trans. richard Miller (new york: noonday Press, 1975), 54–55. 34. radin, “The recuperation,” 42. 35. Benjamin Buchloh, “The Primary colors for the second Time: a Paradigm repetition of the neo-avant-garde,” October 37 (1986): 42. 36. renato Poggioli, Theory of the Avant-Garde (cambridge: harvard University Press, 1968), 52. 37. see Mike sell, “al Qaeda and the avant-garde: Towards a genealogy of the Taliah,” Modernism / Modernity 18, no. 2 (2011): 395–404. 38. Poggioli, Theory of the Avant-Garde, 50. 39. roland Barthes, “The Death of the author,” in Image / Music / Text, trans. stephen heath (new york: hill and Wang, 1978), 147. Chapter 1 1. christopher innes, “Modernism in Drama,” in Cambridge Companion to Modernism, ed. Michael Levenson (cambridge, UK: cambridge University Press, 1999), 131. 2. all subsequent references will be to The Trial. 3. Matthew s. Witkovsky, “Dada Breton,” October 105 (2003): no. 136. 4. frederick Busi, “Dada and the ‘Trial” of Maurice Barrès,” Boston University Journal 23, no. 2 (1975): 67. 5. Busi, “Dada and the ‘Trial’ of Maurice Barrès.” 6. george hugnet, “Dada in Paris,” in The Dada Painters and Poets, ed. robert Motherwell (cambridge: harvard University Press, 1979), 184. 7. gunter Berghaus, Theatre, Performance and the Historical Avant-Garde (new york: Palgrave, 2005), 164. 8. hugnet, “Dada in Paris,” 185. notes to Pages 38–47 | 209 9. Tristan Tzara, L’Affaire Barrès, ed. Marguerite Bonnet (Paris: José corti, 1987), 38. 10. Tzara, L’Affaire Barrès, 39. 11. annabelle Melzer, Dada and Surrealist Performance (Baltimore: Johns hopkins University Press, 1994), 154. 12. Tzara, L’Affaire...