9/11, 3–4, 174, 175–76, 178, 179, 181, 183, 185–97
Abstract Expressionism, 17, 62, 76
Abu Ghraib, 197, 199, 200, 202, 203, 205
Adorno, Theodor, 9, 161, 163, 164, 167; The Dialectic of Enlightenment, 159, 180
Albers, Josef, 82–85, 86, 215n56, 215n63; Art as Experience, 83
Aragon, Louis, 34, 38, 39, 49, 57
Arena Stage, 185
Artaud, Antonin, 14, 27, 63, 97–98, 99, 100, 101–2, 103, 109, 140, 187, 189–90, 196; Balinese dance theater, 137; non-literary theater, 108, 133, 202; “oriental theatre,” 223n9; “surface of fact,” 97, 100, 102; The Theatre and Its Double, 190, 191–92, 193, 196, 198, 199, 201, 203–6, 212n13; “Theatre of Cruelty,” 102, 193; “truth in excess,” 101, 104
avant-gardes: beyond linear historiographies, 146–48; center-to-edge/edge-to-center, 138–41; contemporary, 159–60; cutting edge to rough edges, 142–46; decentering the narrative history, 86–89; discursive economy, 16–19, 20, 22, 26, 27, 52, 53, 59; gendered genealogies of the artist as producer, 20–25; historiographies, 1, 12–20, 26; militancy, 163, 213n21; operative assumptions, 102–10; pluralities, 1–27; post-9/11; radicalism, 40, 58, 168, 177; rhetoric, 28–58; strategies, 97–102; transnational, 23, 138, 146, 148–58; vanquished, 160–67
Bahun-Radunovic: The Avant-Garde and the Margin, 138
Ball, Hugo, 1–2, 3, 4, 26; “Gadji Beri Bimba,” 5, 6, 8; “Karawane,” 5; Lautegedichte, 137; sound poems, 5–7
Barrès, Maurice, 30, 31, 35, 42, 46. See also The Trial and Sentencing of Maurice Barrès by Dada
Barron, Stephanie: “European Artists in Exile,” 211n8
Barthes, Roland, 133; death of the author, 24, 25, 26, 134–35; The Pleasure of the Text, 17, 18
Bauhaus, 81–86, 87, 214n55, 215n56, 215n65
Beck, Julian, 22, 27, 95–96, 98–100, 102, 103, 166, 188, 191–94, 196, 198–99, 201–2, 204–6, 217n28; arrested, 197; “Daily Life,” 217n28; Frankenstein, 22, 95–96, 98–100, 102, 103; “Frankenstein Poem,” 99; “Munich Scenario,” 99; “natural sex,” 202; reading of Artaud, 192–93, 196, 198–99, 201–2, 204–6; “Storming the Barricades,” 191, 193; “Venice Synopsis,” 99. See also The Living Theatre
Beckett, Samuel: Worstward Ho, 161
Bénichou, Maurice, 121
Benjamin, Walter, 121, 125–26, 142, 178; “Theses on the Philosophy of History,” 163–66
Berghaus, Günter: Theatre, Performance and the Historical Avant-Garde, 18
Bhabha, Homi, 150, 155, 156–57, 221n54
Bharucha, Rustom, 112–16, 120, 122–23, 129, 130; “The Collision of Cultures,” 153, 223n9
bin Laden, Osama, 174, 176, 177–79, 183, 226n46
Black Mountain College, 20, 63, 64, 65–68, 69, 70, 71, 72, 74, 75, 76–77, 79–81, 87, 88, 212nn12–14, 212n18, 213n21, 214n44, 215n56; Bauhaus, 81–86, 215n65
Bottoms, Stephen, 225n23; “The Tangled Flora of Goat Island: Rhizome, Repetition, Reality,” 168
Brandon, Ruth, 56
Brecht, Bertolt, 163; aesthetics, 115, 117–29, 131–33, 135–36, 218nn16–17, 219n18, 219n28, 222n71; interruption, 221n54; “The Street Scene,” 114
Brecht, George, 64
Breton, André, 26, 28; abandon Dada, 32, 55, 57–58; “After Dada” (“Apres Dada”), 53–54; death of avant-garde, 52; in Haiti, 147; “Lâchez tout” (“Leave Everything”), 54–55, 210n77; in Spain, 49, 51; Tsara rivalry, 18, 26, 30, 32, 34, 38, 40; The Trial and Sentencing of Maurice Barrès by Dada, 29–30, 34–40, 43, 46, 51; trial at La Closerie des Lilas, 40–51, 56–57; “‘versus’ myth,” 18
Brook, Peter, 218n15, 219n18, 219nn25–26, 220n34, 222n68; The Empty Space, 135; The Mahabharata, 23–24, 116–36, 220n38, 221n50, 221n58, 221n60, 222n65, 222n67
Brown, Kenneth, 196; The Brig, 27, 193–206, 217n23, 227n12
Buchloh, Benjamin: Neo-Avantgarde and Culture Industry, 19
Bürger, Peter, 21, 23, 62, 63, 82, 84, 86, 160, 161, 162, 163, 189–90, 192, 199, 206, 208n24, 208n27; and Artaud’s The Theatre and Its Double, 189–90; historiography, 15, 16; parameters of avant-garde studies, 10–13; Theory of the Avant-Garde, 9, 10–11, 12–14, 18, 20, 22, 87, 88, 112, 188, 189
Bush, George H. W., 225n31
Cabaret Voltaire, 7, 8, 137; possession and etymological imperatives, 1–5
Cage, John, 59, 60–61, 62, 63–68, 82, 84–89, 212nn12–14, 212n16, 212n18, 213n21, 213n41, 214n42, 214n44, 215n56, 215n63, 215n65; affirming vanguardism, 69–75; Duchamp-Cage aesthetic, 62; performance and anti-authoritarianism, 75–81
Calinescu, Matei, 3, 9, 73; Five Faces of Modernity, 216n5
Carlson, Marvin, 189; The Haunted Stage, 190–91, 192, 205
Chaudhuri, Una, 120–21, 126, 219n18, 219n26; “Working Out (of) Place,” 118–19
Churchill, Caryl: Cloud Nine, 121
City Lights Journal, 99, 217n28
Closerie des Lilas, 34; trial of Breton, 30, 40–51, 58
Congress of Paris, 29–30, 34, 40–51, 53, 54, 55, 56–57, 58
counter-culture, 61, 62, 63, 66, 67, 68, 69, 70, 71, 75, 79, 80, 81, 83–84, 85, 87
Crevel, René, 57
Croyden, Margaret, 96
Culture Clash: Anthems: Culture Clash in the District, Culture Clash in AmeriCCA, 185–87; Radio D.C.: Culture Clash in the District, 185; Radio Mambo, 185
Cunningham, Merce, 64, 76, 215n63
Dada, 1, 2, 7, 12, 14, 17, 41–42, 43–48, 50, 53, 70, 82, 100, 137, 196, 212n13; death, 41, 51, 52, 57; indifference, 54; “invention,” 53; leaving, 55; neo-, 77; nomadic quality, 58; obituary, 57; Paris, 18, 30–34, 51, 55–56, 210n77; prosecution, 34–40. See also Barcelona Dada Group; Schwitters, Kurt
Dasgupta, Gautam, 120, 122–23, 125
Delaunay, Robert, 45
Delaunay, Sonia, 56
Deleuze, Gilles: A Thousand Plateaus, 16, 25, 168, 169
Devereaux, Kent, 221n58
Dewey, John, 71, 75, 79–80, 83, 85, 214n42, 214n44; Art as Experience, 66, 68, 80, 83; Democracy and Education, 66–69, 80
Dickens, Charles, 192
Duberman, Martin, 65–66, 77, 84, 212n18
Duchamp, Marcel, 22, 57, 62, 63, 70, 80, 85, 100; -Cage Aesthetic, 62, 76, 77, 78, 84, 211n10; Fountain, 20
Eburne, Jonathan, 10–12, 13, 15–16
Eckmann, Sabine, “Considering (and Reconsidering) Art and Exile,” 213n29; Exiles + Emigrés: The Flight of European Artists from Hitler, 213n29
Eddershaw, Margaret, 219n28
Edinburgh Fringe Festival, 170
Entartete Kunst exhibit, 211n8
Faure, Félix, 45
Feingold, Michael, 199
Felski, Rita, 10–12, 13, 15–16
Ferlinghetti, Lawrence, 99, 217n28
Fiore, Joe, 77
First International Dada Fair, 36
Fluxus movement, 64, 65, 212n14
Ford’s Theatre, 182
Foster, Hal, 11; Return of the Real, 63
Frankfurt School, 159, 163, 180, 181
Gide, André, 57
globalization, 153, 179–81, 184–85
Goldberg, RoseLee, 65
Gordon, Avery: Ghostly Matters, 195
Gottlieb, Saul, 217n25; “The Living Theatre in Exile,” 99, 217n33
Grove Press, 212n13
Guattari, Felix: A Thousand Plateaus, 16, 25, 168, 169
Guha, Probir: “The Aftermath: When Peter Brook Came to India,” 130
The Guidebook for Marines, 200
Haiti, 147
Hansen, Al, 64
Happenings movement, 64, 65, 75, 165, 212n14
Harding, James: Cutting Performance, 138; Not the Other Avant-Garde, 138
Harris, Mary Emma, 65, 83, 85, 215n63
Heartfield, John: Preussischer Erzengel (Prussian Archangel), 35
Henderson, Liza, 219n25
Higgins, Dick, 64
Holiday, Billie: “Strange Fruit,” 186
Hopkins, David: Neo-Avant-Garde, 18
Horkheimer, Max: The Dialectic of Enlightenment, 159, 180
hybrid vanguardism, 20, 27; American, 59–89, 157
Innes, Christopher, 29; Avant-Garde Theatre 1892–1992, 142
Jamaat-e-Islami, 176
Jameson, Fredric: Brecht and Method, 126–27; “The Dialectics of Disaster,” 174–75, 179
Jannarone, Kimberly: Artaud and His Doubles, 138
Jarry, Alfred, 2, 14, 196; Ubu Roi, 136–37
Johnson, David K.: The Lavender Scare: The Cold War Persecution of Gays and Lesbians in the Federal Government, 76
Jones, Amelia, 77
Josephson, Matthew, 44–45, 47, 48, 49
Judson Church, 63
Kent, Leticia, 90
Kier, Udo, 94
Kirby, Michael, 14, 64, 65, 143, 212n16; The Art of Time, 139
Kostelanetz, Richard, 64, 65, 79, 82; Theatre of Mixed Means, 87, 212n12
Krauss, Rosalind, 190
LaValley, Albert, 101–2, 104, 107
Le Coeur à barbe, 54, 55, 210n77
Léger, Fernand, 45
Lehmann, Hans-Thies, 18, 25; Postdramatic Theatre, 13–16
Living Theatre, The, 167, 191, 192, 225n21; The Brig, 27, 193–96, 199–206, 217n23, 227n12; Calcutta, 130; Frankenstein, 22, 90, 92–106, 108–9
Loney, Glenn, 220n34
Lüdke, Martin: Theorie der Avantgarde: Antworten auf Peter Bürgers Bestimmung von Kunst und bürgerlicher Gesellschaft, 208n27
Lugo, Alejando: “Reflections on Border Theory,” 144–45
Malina, Judith, 166–67, 194, 201; arrested, 193, 195, 197; The Brig, 200; The Enormous Despair, 167; Frankenstein, 99; sexuality, 202
Mann, Paul, 59, 72, 143, 148, 151; The Theory-Death of the Avant-Garde, 16–19, 23, 52, 138, 139–40
Marcuse, Herbert: One Dimensional Man, 213n21
Mary, Mary, 95
Maududi, Maulana Sayyid Abdul Ala, 176
McConachie, Bruce, 124
McVeigh, Timothy, 186
Meduri, Avanthi, 222n68; “More Aftermath,” 130
Mezzogiorno, Vittorio, 121
Milhaud, Darius, 56
military vanguardism, 168–69, 173
Millon, Martine, 121
Miyoshi, Masao, 149; “A Borderless World? From Colonialism to Transnationalism and the Decline of the Nation-State,” 150–52, 180–81, 184
Montoya, Richard: Anthems: Culture Clash in the District, Culture Clash in AmeriCCA, 185–87
Motherwell, Robert: The Dada Painters and Poets, 212n13
Nadeau, Maurice: History of Surrealism, 43
National Socialists, 36, 83, 211n8
Neff, Deborah, 216n14; “The Aftermath: When Peter Brook came to India,” 130
neo-avant-garde, 12, 13, 14, 15, 18–20, 62, 63, 71, 82, 84, 86, 87, 88, 160, 189, 190
New Literary History, 10, 11, 12
New School for Social Research, 63, 70, 212n14
Paris, France: avant-gardes, 29, 32, 34, 36, 39, 40, 43; Barrès, 36; Colonial Exhibition, 137, 140, 147; Dada, 18, 30, 31, 35, 37, 39, 40, 56, 210n77; politics, 45; Tzara, 31, 58. See also Congress of Paris; The Trial and Sentencing of Maurice Barrès by Dada
Paris Colonial Exhibition, 137, 140, 147
Parks, Suzan-Lori: The America Play, 181–86
Paulhan, Jean, 45
Pavis, Patrice, 222n65
Perloff, Marjorie, 84
Peter, John, 170
Picasso, Pablo, 57
Pinter, Harold: Party Time, 198–99
pluralities: and the ghost of the avant-gardes, 8–10
Poggioli, Renato, 3, 9, 21, 105–6, 151, 216n5; bourgeois society, 151; masterpieces, 166; nihilism, 73; romanticism and avant-gardism, 109, 176; Theory of the Avant-Garde, 20–21, 139, 166
Polizzotti, Mark, 41, 49–50, 54, 58
postdramatic theater, 13, 15, 16
Pourgouris, Marinos: The Avant-Garde and the Margin, 138
Prados, John, 197
Qutb, Sayyid, 176
Radin, Robert, 17
Rainer, Yvonne, 59–60, 67, 73, 89
Rauschenberg, Robert, 64, 76, 77
Ray, Man, 56
Rayner, Alice: Ghosts: Death’s Double and the Phenomena of Theatre, 192
rhizomes, 16, 25, 27, 168, 169, 177, 179
Ribemont-Dessaignes, Georges, 54–55
Rice, Dan, 77
Richards, Mary Caroline, 64; The Theatre and Its Double, 199, 212n13
Richardson, Michael: Refusal of the Shadow, 138
Richter, Hans, 56
The Riot Group, 225n27; Pugilist Specialist, 169–73
Rocky Horror Show, 92
Rollins College, 83
Rosenthal, Cindy: “In Living Color: Re-viewing The Brig after Abu Ghraib,” 227n28; “The Living Theatre’s Arrested Development in Brazil: An Intersection of Activist Performances,” 225n21
Ross, Marlon: “Romantic Quest and Conquest,” 106
Roth, Moira, 76
Rouse, John, 130–31; Not the Other Avant-Garde, 138
Rowe, John Carlos, 155; “Nineteenth-Century United States Literary culture and Transnationality,” 150
Sagar, Ramanand, 129
Said, Edward: Orientalism, 118; “Traveling Theory,” 136, 157
Saint-Simon, Henri de, 2, 3, 4
Salle des Sociétés Savantes, 29, 36, 40, 41, 43, 57
Saltonstall, Leverett, 197
Sandler, Irving: The New York School: The Painters and Sculptures of the Fifties, 211n10
Sanouillet, Michel: Dada à Paris, 210n77
Satie, Erik, 56
Savran, David, 170, 181; “The Death of the Avant-Garde,” 162–63
Schawinsky, Xanti, 83, 84, 86, 87, 215n65; Olga-Olga, 85; Spectodrama, 85
Schechner, Richard, 3–4, 14, 15, 112–16, 143, 162–63, 167, 169, 173, 193, 212n16, 223n9; “avant-garde is not mainstream,” 165; “The Decline and Fall of the (American) Avant-Garde,” 186–87; The End of Humanism, 111, 224n6; “From Ritual to Theatre and Back,” 113; The Future of Ritual, 111, 115, 141–42; 9/11 as an avant-garde event, 183; “9/11 as Avant-Garde Art?” 175–76; statement to Bharucha, 112–16, 120, 122–23, 130, 153
Schlemmer, Oskar, 84–85; “Man and Art Figure,” 85
Schlichter, Rudolf: Preussischer Erzengel (Prussian Archangel), 35
Schneider, Rebecca, 111: The Explicit Body in Performance, 140
Sell, Mike, 4, 46, 209n37, 226n46; 9/11, 178, 183; “Al Qaeda and the Avant Garde: Towards a Genealogy of the Taliah,” 175–76; Avant-Garde Performance and Material Exchange, 3, 138; Avant-Garde Performance and the Limits of Criticism, 138; Avant-Garde: Race, Religion, War, 168, 223n17; Eulogist School, 51–52, 160, 162; military vanguardism, 169; orientalism, 21; “Resisting the Question, ‘What is an Avant-Garde?,’” 11; taliah, 174–78
Serner, Max, 53
Serner, Walter, 54
Shelley, Mary: Frankenstein, 21–22, 92, 93, 94, 95, 98, 101, 104–10, 216n6, 216n11, 217n41
Smith, Johanna, 217n41
Smith, Molly, 185
Solanas, Valerie, 90
Solzhenitsyn, Alexander, 198
Soupault, Philippe, 56
Spain, 49, 51. See also Barcelona Dada Group
Stockhausen, Karlheinz, 174–75
The Sunday Times, 170
Surkamp Verlag, 188
Surrealism, 12, 14, 18, 30, 32, 34, 35, 39, 40, 51, 52, 57, 163; Paris, 147
Sweet, David LeHardy, 178
Syse, Glenna, 90
Taussig, Michael, 195
The Trial and Sentencing of Maurice Barrès by Dada, 29–30, 34–40, 43, 46, 51; prosecuting Dada, 34–40
Tzara, Tristan, 28; Breton rivalry, 18, 26, 30, 32, 34, 38, 40, 42–44, 53–54; Dada, 35, 37, 39, 40–42, 45–50, 55–56; Dada Manifesto 1918, 53–54, 55; Le Coeur à gaz (The Gas Heart), 56–58; “Lecture on Dada,” 48, 52; Soirée du Coeur à barbe, 30, 34, 43, 51, 56; in Zurich, 31
The Village Voice, 199
Vitrac, Roger, 45
Warhol, Andy: Andy Warhol’s Frankenstein, 22, 91–98, 101, 104; Brillo boxes, 91, 100; Campbell’s soup cans, 91, 218n42; The Philosophy of Andy Warhol, 91; scars, erasure, and history, 90–93
Whale, James: The Bride of Frankenstein, 94; Frankenstein, 94, 95, 96, 101, 216n19
World War I, 2, 6, 33, 36, 163
Worthen, W. B., 124–25, 132, 133, 221n50
Wright, Elizabeth, 219n18
Yeats, William Butler, 137
Zarrilli, Phillip: “The Aftermath: When Peter Brook came to India,” 130, 218n15, 222n68
Zola, Emile: “J’accuse,” 45
Zurich, Switzerland, 1, 31, 44, 137; war, 2