Show Summary Details

Page of

PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice).

date: 17 September 2019

Abstract and Keywords

This chapter explores the ‘aesthetics of catastrophe’ that informs the stage experiments of the period, epitomized by Edward Gordon Craig’s essay-manifesto of 1909, ‘The Actor and the Übermarionette’, one of many anti-theatrical tracts of early modernist theatre whose aim, paradoxically, was to ‘retheatricalize’ an art form that many felt had been dulled by realism. Anti-theatrical stage experiments, frequently located within the physical, semantic/representational, and ideological contours of the performing body, were deeply influenced by puppets, masks, robots, and automata. These are the focus of Taxidou’s discussion as writing on puppets by Arthur Symons, Walter Pater, and Oscar Wilde are charted, in conjunction with the work of Heinrich von Kleist, Charles Baudelaire (on dolls), and the actual puppet theatres of France and Italy that were so influential at the end of the nineteenth century.

Keywords: theatre, stagecraft, puppet, mask, Übermarionette, performance, robot, Symons, von Kleist, Baudelaire

Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.

Please subscribe or login to access full text content.

If you have purchased a print title that contains an access token, please see the token for information about how to register your code.

For questions on access or troubleshooting, please check our FAQs, and if you can''t find the answer there, please contact us.