{"id":6876,"date":"2024-03-22T17:36:18","date_gmt":"2024-03-22T17:36:18","guid":{"rendered":"https:\/\/thecpr.org.uk\/?post_type=product&p=6876"},"modified":"2024-03-22T17:36:19","modified_gmt":"2024-03-22T17:36:19","slug":"a-lexicon-of-the-central-eastern-european-interwar-theatre-avant-garde","status":"publish","type":"product","link":"https:\/\/thecpr.org.uk\/product\/a-lexicon-of-the-central-eastern-european-interwar-theatre-avant-garde\/","title":{"rendered":"A Lexicon of the Central-Eastern European Interwar Theatre Avant-Garde"},"content":{"rendered":"

A Lexicon of\u00a0the Central-Eastern European Interwar Theatre Avant-garde<\/em><\/strong> presents different aspects of the theatre avant-garde programmes, projects and achievements that took place between the two World Wars in a region of Europe that, squeezed between the two mighty powers of Germany and Russia, experienced similar historical dangers of marginalization and (in many cases literal) colonization and conquest.<\/p>\n

The book uses the idea of\u00a0a\u00a0lexicon in\u00a0an\u00a0unexpected way: Instead of\u00a0a\u00a0dictionary of\u00a0terms, phenomena, names, events, works, etc., creating a\u00a0historical entity introduced by\u00a0a\u00a0title and organized in\u00a0alphabetical order, the international team of\u00a0researchers and editors have used the idea of\u00a0lexicon as\u00a0a\u00a0tool to\u00a0establish something that has not previously been clearly recognized as\u00a0being separate, specific or\u00a0autonomous, to\u00a0constitute a\u00a0specific historical phenomenon. Thus the lexicon is\u00a0not a\u00a0dictionary \u2013 it\u00a0is\u00a0a\u00a0performance.<\/p>\n

The Lexicon<\/em>\u00a0aims to\u00a0present and establish the phenomenon of\u00a0the Central-Eastern European interwar theatre avant-garde. This does not mean it creates something that did not previously exist. Rather it (re-) establishes a\u00a0certain set of\u00a0elements in\u00a0such a\u00a0way that they emerge from an\u00a0array of\u00a0different, multi-layered and complicated webs of\u00a0relations, events, works, projects and circumstances. But they are emerging not as\u00a0one unit, a\u00a0single phenomenon, but as\u00a0a\u00a0multiplicity invited to\u00a0act, to\u00a0perform on\u00a0the stage that has been designed for them. And this is\u00a0something quite different from the traditional academic definition, in\u00a0which one seeks borders and criteria of\u00a0differentiation and division. In\u00a0contrast, while performing a\u00a0phenomenon the book invites different elements to\u00a0appear on\u00a0a\u00a0stage and play with each other like\u00a0actors to\u00a0create a\u00a0series of\u00a0changing relations.<\/p>\n

Being a\u00a0performance on\u00a0performance art, the\u00a0Lexicon\u00a0<\/em>follows a\u00a0special dramaturgical composition, created intentionally to\u00a0play with drama and theatre conventions. The main body of\u00a0the book consists of\u00a0three sections (or acts). The first presents the stages of\u00a0the Central-Eastern European interwar theatre avant-garde, i.e. the historical and cultural conditions that created an\u00a0environment in\u00a0which the avant-garde theatre of\u00a0the region was developed. Here one can also find short presentations of\u00a0the main characters \u2014 the national theatre avant-gardes that we\u00a0invited to\u00a0perform the phenomenon of\u00a0the Central-Eastern European interwar theatre avant-garde.<\/p>\n

The second section of\u00a0the\u00a0Lexicon<\/em>\u00a0may be\u00a0seen as\u00a0an\u00a0antithesis of\u00a0the first. What is\u00a0described in\u00a0it\u00a0are not the separate national stages created by\u00a0specific political and historical conditions, but modern networks of\u00a0communication working across political borders and cultural differences: magazines, exhibitions, the international working-class movement and Jewish theatre as\u00a0a\u00a0special transnational phenomenon.<\/p>\n

The third section proposes a\u00a0synthesis of\u00a0the whole performance of\u00a0the\u00a0Lexicon<\/em>. It\u00a0is\u00a0here that the Central-Eastern European interwar theatre avant-garde appears and acts as\u00a0an\u00a0entity enlivened by\u00a0common aesthetics, values, ideas, modes of\u00a0work, passions and goals. This part is\u00a0organized around four general terms: form, drama, dance and event, which hopefully allow description of\u00a0the specific aspects of\u00a0the Central-Eastern European interwar theatre avant-garde seen as\u00a0an\u00a0autonomous subject with its own agency.<\/p>\n

The book is\u00a0composed of\u00a0texts written by\u00a0different authors\u00a0 from different cultures and styles of\u00a0writing. Its editors tried not to\u00a0hide this multiplicity by\u00a0forcing an\u00a0\u2018objective\u2019 unification \u2013 quite the opposite. To\u00a0help the reader to\u00a0navigate between these different voices and perspectives the editors have created a\u00a0special\u00a0Index<\/em>, listing the main figures, events, performances and ideas of\u00a0the Central-Eastern European interwar theatre avant-garde.<\/p>\n

A Lexicon of\u00a0the Central-Eastern European Interwar Theatre Avant-garde<\/em><\/strong>\u00a0is\u00a0the \u00a0result of\u00a0long-term project realized from 2014\u00a0under the auspices of\u00a0the Raszewski Theatre Institute and, in\u00a0its final phase (2018\u201324), financed by\u00a0the Polish Minister of\u00a0Education and Science in\u00a0the frame of\u00a0Narodowy Program Rozwoju Humanistyki (National Programme for the Development of\u00a0Humanities), project no.: 11H 17\u00a00144\u00a085.<\/p>\n

\n

This lexicon does very welcome and much needed work filling gaps for English-speaking readers by\u00a0building a\u00a0complex picture of\u00a0previously invisible activities: charting avant-garde theatre practices between the wars across Central-Eastern Europe. Beautifully illustrated and comprehensive, it\u00a0depicts a\u00a0wealth of\u00a0activities, helping us\u00a0understand later experimentation by\u00a0revealing its foundations. It\u00a0also presents an\u00a0extraordinary network and flow of\u00a0influences and practices as\u00a0people and ideas circulated across the breadth of\u00a0Europe. With the current political shifts and resurgence of\u00a0nationalism across the region (in addition to\u00a0the war in\u00a0Ukraine), this book is\u00a0important for reminding us of\u00a0shared values and interests and common artistic legacies. The multiple authors and the editor are to be\u00a0congratulated for their hard work and many insights. The\u00a0<\/em>Lexicon<\/em>\u00a0is\u00a0indispensable reading to\u00a0fully understand the development of\u00a0theatre throughout Europe.<\/em><\/p>\n

Paul Allain<\/strong>
\nProfessor of\u00a0Theatre and Performance,<\/strong>
\nUniversity of\u00a0Kent, Canterbury, UK<\/strong><\/p>\n

 <\/p>\n

A Lexicon of\u00a0the Central-Eastern European Interwar Theatre Avant-garde, edited by\u00a0Dariusz Kosi\u0144ski, is\u00a0the result of a\u00a0long-term collaboration between theatre and performing arts scholars from a\u00a0number of\u00a0Central and Eastern European countries, the outcome of\u00a0meetings and discussions undertaken on\u00a0various occasions since 2012. In\u00a0the introduction, the editors propose that this work is\u00a0not a\u00a0typical lexicon but rather a\u00a0performance. In\u00a0doing so, they emphasize, among other things, their deep conviction that the avant-garde was performative in\u00a0nature. Hence it is\u00a0difficult to\u00a0capture its specificity other than through performative acts of\u00a0establishing network connections between artistic phenomena and the people who created them, and the places that these people transformed with their actions. The declaration that the\u00a0<\/em>Lexicon<\/em>\u00a0is\u00a0meant to be\u00a0a\u00a0performance also conveys the task set by\u00a0the authors of\u00a0the texts. This allows the artists and their practices recalled in\u00a0the Lexicon to\u00a0enter into new and unexpected relationships; and the task they set for the readers is to\u00a0find their own place and their own perspective on\u00a0the simultaneous scene of\u00a0Central-Eastern European theatre avant-gardes. All this is\u00a0done while taking care not to\u00a0get too accustomed to\u00a0this perspective, but to\u00a0change it in\u00a0order to\u00a0see the dynamic performance from multiple positions.<\/em><\/p>\n

Ewa Partyga<\/strong>
\nAssociate Professor in\u00a0the Theatre History and Theory Department,<\/strong>
\nInstitute of\u00a0Art, Polish Academy of\u00a0Sciences<\/strong><\/p>\n

\n

 <\/p>\n

LIST OF CONTENTS<\/strong><\/p>\n

General Introduction: This is\u00a0not a\u00a0lexicon. Dariusz Kosi\u0144ski \u2013 11<\/strong><\/p>\n

Section One<\/strong><\/p>\n

STAGES: AVANT-GARDE THEATRE AND THE STATE BETWEEN THE WORLD WARS<\/strong><\/p>\n

1.0\u00a0 \u00a0 Avant-garde Theatre and the State between the World Wars: Introduction. Zolt\u00e1n Imre and Dariusz Kosi\u0144ski \u2013 25
\n1.1\u00a0 \u00a0 The Theatre Avant-garde and the Czechoslovak Republic. Martin Bern\u00e1tek \u2013 29
\n1.2\u00a0 \u00a0 In the Shadow of a Monument: The Second Polish Republic and the first Polish theatre avant-garde. Dariusz Kosi\u0144ski \u2013 43
\n1.3\u00a0 \u00a0 The Avant-garde and Independence: The case of Romania. Anca Ha\u021biegan \u2013 53
\n1.4\u00a0 \u00a0 Avant-garde Theatre in Bulgaria: Transforming collective identifications in the 1920s and 1930s. Kamelia Nikolova \u2013 63
\n1.5\u00a0 \u00a0 The Latvian Theatre Avant-garde: From the celebration of the 1st of May to The Song of Rebirth. Ed\u012bte Ti\u0161heizere. Translated by Kristina Guste \u2013 69
\n1.6\u00a0 \u00a0 Two Attempts to Establish the Avant-garde in Lithuanian Theatre. Martynas Petrikas and Asta Petrikien\u0117 \u2013 81
\n1.7\u00a0 \u00a0 The Peacock\u2019s Tail. Georgian avant-garde performance 1912\u201336. Ketevan S. Kintsurashvili \u2013 91
\n1.8\u00a0 \u00a0 Avant-garde Theatre and the Independent State: The case of Ukraine. Hanna Veselovska \u2013 97
\n1.9\u00a0 \u00a0 In Marginality. Hungarian avant-garde experiments and the nation-state (1920\u201340). Zolt\u00e1n Imre \u2013 107
\n1.10\u00a0 \u00a0 A New Story with Old Elements: The social and cultural context of the emerging avant-garde in Serbia\/Kingdom of Yugoslavia between the World Wars. Marina Milivojevi\u0107 Ma\u0111arev and Milan Ma\u0111arev \u2013 117
\n1.11\u00a0 \u00a0 Croatia: The new theatre for a new human being. Boris Senker \u2013 123
\n1.12\u00a0 \u00a0 Avant-garde on the Border. The case of Trieste\/Trst\/Triest. Toma\u017e Topori\u0161i\u010d \u2013 131
\n1.13\u00a0 \u00a0 Lviv: Erasure of tradition in a city of tradition. Ma\u0142gorzata Dziewulska. Translated by Miko\u0142aj Kosi\u0144ski \u2013 143
\n1.14\u00a0 \u00a0 Vitebsk as a \u2018Third Space\u2019 of the Avant-garde in Belarus. Tania Arcimovich \u2013 153<\/p>\n

Section Two<\/strong><\/p>\n

NETWORKS: THE CENTRAL-EASTERN EUROPEAN INTERWAR AVANT-GARDE IN\u00a0INTERNATIONAL AND TRANSNATIONAL CONTEXTS<\/strong><\/p>\n

2.0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Beyond Borders: Mobility and sites of\u00a0exchange among interwar avant-garde theatres in\u00a0Central-Eastern Europe. Introduction. Martin Bern\u00e1tek, Zolt\u00e1n Imre and Przemys\u0142aw Stro\u017cek \u2013 165<\/p>\n

MOBILITY AND MIGRATIONS IN\u00a0INTERWAR AVANT-GARDE THEATRES IN\u00a0CENTRAL-EASTERN EUROPE<\/strong><\/p>\n

2.1.0 \u00a0\u00a0\u00a0 Introductory Remarks. Martin Bern\u00e1tek, Zolt\u00e1n Imre and Przemys\u0142aw Stro\u017cek \u2013 177
\n2.1.1 \u00a0\u00a0\u00a0 Mobility of\u00a0Belarusian Artists in\u00a0the Soviet Union: Lev Litvinov \u2018on the edges\u2019 of\u00a0the revolutionary theatre. Tania Arcimovich \u2013 179
\n2.1.2. \u00a0\u00a0 Migrations to\u00a0and from Latvia. Ed\u012bte Ti\u0161heizere. Translated by\u00a0Kristina Guste \u2013 185
\n2.1.3 \u00a0\u00a0\u00a0 Migrations to\u00a0and from Georgia. Ketevan S. Kintsurashvili \u2013 189
\n2.1.4 \u00a0\u00a0\u00a0 Migrations to\u00a0and from Ukraine. Hanna Veselovska \u2013 193
\n2.1.5 \u00a0\u00a0\u00a0 Russian Emigrants in\u00a0Serbia, 1918\u201341. Milan Ma\u0111arev and Marina Milivojevi\u0107 Ma\u0111arev \u2013 197
\n2.1.6 \u00a0\u00a0\u00a0 Migrant Artists and Political Activists of\u00a0the Slovene Avant-garde. Toma\u017e Topori\u0161i\u010d \u2013 205
\n2.1.7 \u00a0\u00a0\u00a0 Migrations to\u00a0and from Romania. Alexandra Chiriac \u2013 209
\n2.1.8 \u00a0\u00a0\u00a0 Migrations to\u00a0and from Poland. Przemys\u0142aw Stro\u017cek with Dariusz Kosi\u0144ski and Justyna Michalik-Tomala \u2013 215
\n2.1.9 \u00a0\u00a0\u00a0 Avant-garde Theatre in\u00a0Motion around, in\u00a0and out of\u00a0Czechoslovakia. Martin Bern\u00e1tek \u2013 221
\n2.1.10\u00a0\u00a0 Mobility of\u00a0Artists to\u00a0and from Bulgaria. Kamelia Nikolova \u2013 229
\n2.1.11\u00a0\u00a0 Migrations to\u00a0and from Hungary. Zolt\u00e1n Imre \u2013 237<\/p>\n

TRANSNATIONAL CIRCULATION OF\u00a0IDEAS ON\u00a0AVANT-GARDE THEATRE IN\u00a0THE NETWORKED MAGAZINES OF\u00a0CENTRAL-EASTERN EUROPE<\/strong><\/p>\n

2.2.0 \u00a0\u00a0\u00a0 Introductory Remarks. Martin Bern\u00e1tek, Zolt\u00e1n Imre and Przemys\u0142aw Stro\u017cek \u2013 243
\n2.2.1 \u00a0\u00a0\u00a0 Czechoslovak Magazines:\u00a0Host, P\u00e1smo, Fronta, ReD, Index, Rozpravy Aventina, Program D<\/em>. Martin Bern\u00e1tek \u2013 245
\n2.2.2 \u00a0\u00a0\u00a0 Polish Magazines:\u00a0Zdr\u00f3j, Zwrotnica, Blok, D\u017awignia, Praesens, Linia.<\/em>\u00a0Przemys\u0142aw Stro\u017cek \u2013 253
\n2.2.3 \u00a0\u00a0\u00a0 Ukrainian Magazines:\u00a0Semafor u\u00a0maibutnie, Nova Generatsia, Mystetski materialy avangardu<\/em>. Hanna Veselovska \u2013 259
\n2.2.4 \u00a0\u00a0\u00a0 Georgian Magazines:\u00a0H2<\/sub>SO4<\/sub><\/em>. Ketevan S. Kintsurashvili \u2013 267
\n2.2.5 \u00a0\u00a0\u00a0 Romanian Magazines:\u00a0Contimporanul<\/em>,\u00a0Integral<\/em>,\u00a075\u00a0HP<\/em>,\u00a0Punct<\/em>,\u00a0unu<\/em>,\u00a0Periszk\u00f3p<\/em>. Alexandra Chiriac \u2013 271
\n2.2.6 \u00a0\u00a0\u00a0 Hungarian Magazines:\u00a0A TETT<\/em>,\u00a0MA<\/em>,\u00a0\u00daj F\u00f6ld<\/em>,\u00a0Sz\u00ednh\u00e1z \u00e9s Film<\/em>,\u00a0F\u00fcggetlen Sz\u00ednpad<\/em>. Zoltan Imre \u2013 279
\n2.2.7 \u00a0\u00a0\u00a0 Bulgarian Magazines:\u00a0Vezni<\/em>,\u00a0Crescendo<\/em>,\u00a0Plamuk<\/em>. Kamelia Nikolova \u2013 287
\n2.2.8 \u00a0\u00a0\u00a0 Croatian Magazines:\u00a0Scena<\/em>,\u00a0Teater<\/em>,\u00a0Comoedia<\/em>,\u00a0Kritika<\/em>,\u00a0Knji\u017eevnik<\/em>,\u00a0Plamen<\/em>,\u00a0Zenit<\/em>. Vi\u0161nja Ka\u010di\u0107 Rogo\u0161i\u0107 \u2013 291
\n2.2.9 \u00a0\u00a0\u00a0 Serbian Magazines:\u00a0Svetokret<\/em>,\u00a0Zenit<\/em>,\u00a0Ve\u010dnost<\/em>,\u00a0\u00dat<\/em>,\u00a0Comoedia<\/em>,\u00a0Pozori\u0161te<\/em>. Milan Ma\u0111arev and Marina Milivojevi\u0107 Ma\u0111arev \u2013 301
\n2.2.10\u00a0\u00a0\u00a0 Slovenian Magazines:\u00a0Novi oder<\/em>,\u00a0Tank<\/em>. Toma\u017e Topori\u0161i\u010d \u2013 307
\n2.2.11\u00a0\u00a0\u00a0 Lithuanian Magazines:\u00a0Keturi v\u0117jai<\/em>,\u00a0MUBA<\/em>. Martynas Petrikas and Asta Petrikien\u0117 \u2013 313
\n2.2.12\u00a0\u00a0\u00a0 Latvian Magazines:\u00a0Laikmets<\/em>. Ed\u012bte Ti\u0161heizere. Translated by\u00a0Kristina Guste \u2013 317<\/p>\n

THE PRESENCE OF\u00a0THE CENTRAL-EASTERN EUROPEAN INTERWAR AVANT-GARDE AT\u00a0INTERNATIONAL THEATRE EVENTS<\/strong><\/p>\n

2.3.0 \u00a0\u00a0\u00a0 Introductory Remarks. Martin Bern\u00e1tek, Zolt\u00e1n Imre and Przemys\u0142aw Stro\u017cek \u2013 323
\n2.3.1 \u00a0\u00a0\u00a0 1922. Amsterdam. The International Theatre Exhibition. Written collectively \u2013 325
\n2.3.2 \u00a0\u00a0\u00a0 1924. Vienna. International Exhibition of\u00a0New Theatre Technology. Written collectively \u2013 331
\n2.3.3 \u00a0\u00a0\u00a0 1925. Paris. International Exhibition of\u00a0Modern Decorative and Industrial Arts. Written collectively \u2013 333
\n2.3.4 \u00a0\u00a0\u00a0 1926. New York. International Theatre Exhibition. Written collectively \u2013 337
\n2.3.5\u00a0\u00a0\u00a0\u00a0 1927. Magdeburg. The German Theatre Exhibition. Written collectively \u2013 341
\n2.3.6\u00a0\u00a0\u00a0\u00a0 1929. Barcelona International Exhibition. Written collectively \u2013 343
\n2.3.7 \u00a0\u00a0\u00a0 1930. Moscow. Theatre Olympiad. Written collectively \u2013 345
\n2.3.8\u00a0\u00a0\u00a0\u00a0 1933. Moscow. International Olympiad of\u00a0Revolutionary Theatres. Written collectively \u2013 347
\n2.3.9\u00a0\u00a0\u00a0\u00a0 1934. New York. International Exhibition of\u00a0Theatre Art. Written collectively \u2013 349
\n2.3.10\u00a0\u00a0 1936. Milan. Sixth Triennale \u2018Continuity\u2013Modernity\u2019. Written collectively \u2013 351
\n2.3.11\u00a0\u00a0 1936. Vienna. The International Exposition of\u00a0Theatre Art. Written collectively \u2013 353
\n2.3.12\u00a0\u00a0 1937. Prague. The International Conference of\u00a0Avant-garde Theatremakers. Written collectively \u2013 355
\n2.3.13\u00a0\u00a0 1937. Paris. The International Exposition of\u00a0Arts and Technology in\u00a0Modern Life. Written collectively \u2013 365
\n2.3.14 \u00a0 \u00a01930s. International Dance Competitions. Written collectively \u2013 367
\n2.3.15 \u00a0 \u00a0References \u2013 370<\/p>\n

CENTRAL-EASTERN EUROPEAN INTERWAR WORKERS\u2019 THEATRE: WORKERS\u2019 CULTURE, THE TRANSNATIONAL PROLETARIAN MOVEMENT AND THE AVANT-GARDE<\/strong><\/p>\n

2.4.0\u00a0\u00a0\u00a0 Introductory Remarks. Martin Bern\u00e1tek, Zolt\u00e1n Imre and Przemys\u0142aw Stro\u017cek \u2013 379
\n2.4.1\u00a0\u00a0\u00a0\u00a0 United Workers of\u00a0Leftist Theatre in\u00a0Czechoslovakia. Martin Bern\u00e1tek \u2013 381
\n2.4.2 \u00a0\u00a0\u00a0 Hungarian Workers\u2019 Theatre, the Avant-garde and the Transnational Proletarian Movement. Zolt\u00e1n Imre \u2013 389
\n2.4.3\u00a0\u00a0\u00a0 Workers\u2019 Theatres in\u00a0Ukraine. Hanna Veselovska \u2013 401
\n2.4.4\u00a0\u00a0\u00a0 The Workers\u2019 Stage in\u00a0Poland in\u00a0the Context of\u00a0Avant-garde Theatre. Przemys\u0142aw Stro\u017cek \u2013 407
\n2.4.5 \u00a0\u00a0\u00a0 Workers\u2019 Theatre in\u00a0Romania. Anca Ha\u021biegan \u2013 413
\n2.4.6 \u00a0\u00a0\u00a0 The Ljubljana Workers\u2019 Stage and the Transnational Proletarian Movement. Toma\u017e Topori\u0161i\u010d \u2013 417
\n2.4.7 \u00a0\u00a0\u00a0 Anna L\u0101cis: A\u00a0Latvian transit from Russia to\u00a0Western Europe. Ed\u012bte Ti\u0161heizere. Translated by\u00a0Kristina Guste \u2013 421
\n2.4.8 \u00a0\u00a0\u00a0 The Workers\u2019 Theatres in\u00a0Georgia. Ketevan S. Kintsurashvili \u2013 431<\/p>\n

JEWISH THEATRES AND THE AVANT-GARDE IN\u00a0CENTRAL-EASTERN EUROPE<\/strong><\/p>\n

2.5.0 \u00a0\u00a0\u00a0 Introductory Remarks. Martin Bern\u00e1tek, Zolt\u00e1n Imre and Przemys\u0142aw Stro\u017cek \u2013 437
\n2.5.1\u00a0\u00a0\u00a0 Avant-garde Jewish Theatres in\u00a0Ukraine: Kyiv, Kharkiv. Hanna Veselovska \u2013 439
\n2.5.2 \u00a0\u00a0\u00a0 Avant-garde Jewish Theatres in\u00a0Belarus: Minsk. Tania Arcimovich \u2013 443
\n2.5.3\u00a0\u00a0\u00a0\u00a0 Avant-garde Jewish Theatres in\u00a0Poland: Vilnius, \u0141\u00f3d\u017a, Warsaw. Ma\u0142gorzata Leyko. Translated by\u00a0Magdalena Solak-Micha\u0142kiewicz \u2013 447
\n2.5.4 \u00a0\u00a0\u00a0 Avant-garde Jewish Theatres in\u00a0Lithuania: Kaunas. Martynas Petrikas and Asta Petrikien\u0117 \u2013 451
\n2.5.5 \u00a0\u00a0\u00a0 Avant-garde Jewish Theatres in\u00a0Romania: Bucharest. Alexandra Chiriac \u2013 459
\n2.5.6 \u00a0\u00a0\u00a0 The Tours of\u00a0the Vilna Troupe. Alexandra Chiriac \u2013 463<\/p>\n

Section Three<\/strong><\/p>\n

PERFORMANCES: CRUCIAL AESTHETIC ASPECTS OF\u00a0THE CENTRAL-EASTERN EUROPEAN INTERWAR THEATRE AVANT-GARDE<\/strong><\/p>\n

3.0 In\u00a0Between: The aesthetics of\u00a0the Central-Eastern European interwar theatre avant-garde. Justyna Michalik-Tomala and Marina Milivojevi\u0107 Ma\u0111arev \u2013 469<\/p>\n

FORM<\/strong><\/p>\n

3.1.1\u00a0\u00a0 \u2018A carnival of\u00a0eclecticism\u2019: Form as\u00a0synthesis in\u00a0avant-garde performance. Alexandra Chiriac \u2013 475
\n3.1.2\u00a0\u00a0 Croatian Thinkers in\u00a0the 1920s and the 1930s on\u00a0Formal Aspects of\u00a0Theatre. Vi\u0161nja Ka\u010di\u0107 Rogo\u0161i\u0107 \u2013 481
\n3.1.3\u00a0\u00a0 Form in\u00a0Latvian Avant-garde Theatre. Ed\u012bte Ti\u0161heizere. Translated by\u00a0Kristina Guste \u2013 493
\n3.1.4\u00a0\u00a0 The Founders of\u00a0New Forms in\u00a0Georgian Theatre. Ketevan S. Kintsurashvili \u2013 501
\n3.1.5\u00a0\u00a0 New Forms of\u00a0Theatre Space. Justyna Michalik-Tomala. Translated by\u00a0Magdalena Solak-Micha\u0142kiewicz \u2013 507
\n3.1.6\u00a0\u00a0 Beyond the Power of\u00a0the Known. Form as\u00a0a\u00a0vehicle in\u00a0the theories of\u00a0the Polish theatre avant-garde. Dariusz Kosi\u0144ski \u2013 513
\n3.1.7\u00a0 Thinking Practice, Shaping Art. Aesthetics of\u00a0the interwar theatre avant-garde in\u00a0Czechoslovakia. Martin Bern\u00e1tek \u2013 523<\/p>\n

DRAMA<\/strong><\/p>\n

3.2.1 \u00a0\u00a0\u00a0 Doing Things with Words, or\u00a0What the Avant-garde Needs Drama For. Ewa Guderian-Czapli\u0144ska. Translated by\u00a0Magdalena Solak-Micha\u0142kiewicz \u2013 531
\n3.2.2 \u00a0\u00a0\u00a0 Reflections on\u00a0sintesi<\/em>: From drama and theatre to\u00a0visual poetry, film and radio. Przemys\u0142aw Stro\u017cek \u2013 539
\n3.2.3 \u00a0\u00a0\u00a0 Serbian Avant-garde Drama. Marina Milivojevi\u0107 Ma\u0111arev \u2013 545
\n3.2.4 \u00a0\u00a0\u00a0 Expressionist Features of\u00a0Croatian Drama of\u00a0the 1920s. Boris Senker \u2013 555
\n3.2.5 \u00a0\u00a0\u00a0 The Model of\u00a0Slavko Grum\u2019s New Drama and the Influence of\u00a0Tairov. Toma\u017e Topori\u0161i\u010d \u2013 561
\n3.2.6 \u00a0\u00a0\u00a0 The Theatrical Avant-garde and Drama: The case of\u00a0Romania. Anca Ha\u021biegan \u2013 567
\n3.2.7 \u00a0\u00a0\u00a0 Drama and its Staging in\u00a0the Czechoslovakian Avant-garde. Martin Bern\u00e1tek \u2013 573<\/p>\n

DANCE<\/strong><\/p>\n

3.3.1 \u00a0\u00a0\u00a0 The Choreography of\u00a0Innovation: Avant-garde ballet on\u00a0Ukraine\u2019s stage in\u00a0the 1920s. Hanna Veselovska \u2013 579
\n3.3.2 \u00a0\u00a0\u00a0 Stage Movement in\u00a0Avant-garde Theatre in\u00a0Serbia 1918\u201341. Milan Ma\u0111arev \u2013 591
\n3.3.3 \u00a0\u00a0\u00a0 Avant-garde Dance in\u00a0Poland. Ma\u0142gorzata Leyko. Translated by\u00a0Magdalena Solak-Micha\u0142kiewicz \u2013 595
\n3.3.4 \u00a0\u00a0\u00a0 The Hungarian Avant-garde, Women, and Dance\/movement. Zolt\u00e1n Imre \u2013 603<\/p>\n

EVENT<\/strong><\/p>\n

3.4.1 \u00a0\u00a0\u00a0 Performance on\u00a0the Page. Martynas Petrikas and Asta Petrikien\u0117 \u2013 613
\n3.4.2 \u00a0\u00a0\u00a0 The Theatrical Avant-garde and Events. The case of\u00a0Romania. Anca Ha\u021biegan \u2013 623
\n3.4.3 \u00a0\u00a0\u00a0 Never Again. The Polish interwar theatre avant-garde and the art of\u00a0performative events. Dariusz Kosi\u0144ski \u2013 629
\n3.4.4 \u00a0\u00a0\u00a0 The Spectator in\u00a0Polish Interwar Avant-garde Theatre. Justyna Michalik-Tomala. Translated by\u00a0Magdalena Solak-Micha\u0142kiewicz \u2013 635
\n3.4.5 \u00a0\u00a0\u00a0 Cricot: The magic box of\u00a0subversion. Ma\u0142gorzata Dziewulska. Translated by\u00a0Magdalena Solak-Micha\u0142kiewicz 641<\/p>\n

Section Four<\/strong><\/p>\n

4.0 LEXICON INDEX \u2013 651<\/p>\n\n\n