British Avant-Garde Theatre by Claire Warden (auth.) PDF
By Claire Warden (auth.)
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In addition to Theatre W orkshop’s avid reading of Moussinac’ s book, Brecht was also claimed as an influence for the Manchester 44 British Avant-Garde Theatre company. When MacColl and Littlewood became aware of Brecht is very difficult to determine. Almost certainly some connection was formed during the early to mid-1930s. MacColl recalled being sent a script from a ‘YCLer in Leipzig … a script by Bert Brecht and Hanns Eisler called Auf den Strassen zu singen ’ and later he claimed that he ‘first knew about Brecht about 1933–4, and later ser ved with him on an international committee of the theatre’ (Woods May 1973a, p.
84) It is this ‘mounting’ or ‘cutting’ that impacted the plays of the British avant-garde in pieces like Unity Theatre’ s Busmen, where it influenced set choices and narrative structure. Due to its cinematic qualities, it moves from scene to scene, providing different perspectives on the same stor y without the need for linear chronology or uninterrupted narrative flow . This structure was visually embodied by the set, which was split into areas. These areas were illuminated when required, again reflecting the methods of the cinema.
246). This meant that new theatrical methods had to be found. But from the death of the WTM came the emergence of Unity Theatre and, in fact, there is a direct line of descent through a former associate group of the WTM: Andre van Gyseghem’ s Rebel Players. 14 Unity was officially founded in 1936 and based at Britannia Street, King’s Cross before moving to Goldington Street near St Pancras the following year. But, despite this London home and like the WTM before it, Unity was actually a conglomeration of theatre companies from across Britain.
British Avant-Garde Theatre by Claire Warden (auth.)