|aAvant-garde performance & the limits of criticism :|bapproaching the Living Theatre, happenings/Fluxus, and the Black Arts movement /|cMike Sell.
|aAvant-garde performance and the limits of criticism
|aAnn Arbor :|bUniversity of Michigan Press,|cc2008.
|avi, 327 p. :|bill. ;|c23 cm.
|aOriginated in the author's dissertation.
|aOriginally published: University of Michigan Press, 2005.
|aIncludes bibliographical references (p. 291-313) and index.
|aIntroduction: The Revolution Will Not Be Theorized -- Case 1: The Connection: Cruelty, Jazz, and Drug War, 1959---1963 -- Chapter 1: Cruelty and the Cold War -- Chapter 2: Jazz and Drug War -- Case 2: Happenings, Fluxus, and the Production of Memory -- Chapter 3: Bad Memory -- Chapter 4: The Avant-Garde Disappears -- Chapter 5: Performance and the Mode of Production -- Case 3: The Black Arts Movement: Text, Performance, Blackness -- Chapter 6: Blackness as Critical Practice -- Chapter 7: Blackness and Text -- Chapter 8: Was the Black Arts Movement an Avant-Garde?
|aAvant-Garde Performance and the Limits of Criticism looks at the American avant-garde during the Cold War period, focusing on the interrelated questions of performance practices, cultural resistance, and the politics of criticism and scholarship in the U.S. counterculture. This groundbreaking book examines the role of the scholar and critic in the cultural struggles of radical artists and reveals how avant-garde performance identifies the very limits of critical consideration. It also explores the popularization of the avant-garde: how formerly subversive art is eventually discovered by the mass media, is gobbled up by the marketplace, and finds its way onto the syllabi of college and university courses. This book is a timely and significant book that will appeal to those interested in avant-garde literary criticism, theater history, and performance studies.