After the Avant-Garde

In her series, Kate Kremer explores the question of the new avant-garde; what is avant-garde theatre today?

The Bird, the Bunny, and the American Avant-Garde
Essay

The Bird, the Bunny, and the American Avant-Garde

10 October 2015

In this installment of her After-the-Avant-Garde series, Kate Kremer looks at the parallel functions of the prompter in the chicken suit in Nature Theater of Oklahoma’s 2009 Romeo and Juliet and Br’er Rabbit in Branden Jacobs-Jenkins’ An Octoroon.

Duration and the Avant-garde Part 2
Essay

Duration and the Avant-garde Part 2

The Tactics of Real Time

29 June 2015

In this installation, Kate Kremer continues her exploration of durational theatre and what it has to do with realism.

Avant-Home-and-Garden
Essay

Avant-Home-and-Garden

Site-specific Theatre and the Politics of Public and Private Space

30 January 2015

In this installment, Kate Kremer discusses the difference between public and private space, and the kind of theatregoing experience one can have in situations with unfamiliar rules.

Durational Theater Part 1
Essay

Durational Theater Part 1

Time and Punishment

22 December 2014

What conditions make life unlivable? Kate Kremer explores this question looking at performances by Forced Entertainment and Tehching Hsieh, ranging from six hours to one year.

Devising the New Avant-garde—Part 2
Essay

Devising the New Avant-garde—Part 2

The Renaissance Kid and the Open Play

18 October 2014

The rise of artistic multi-functionalism, and the open, assimilative, and collaborative values it implies, has coincided with the emergence of devising as a major theatrical discipline. Although devising is hardly new the process of developing work through collaboration among a group of artists has gained traction in recent years. It makes sense: both multi-functionalism and devising are solutions to an economic downturn, ways to continue creating complex and multivalent art in a scale-back climate.

Devising the New Avant-garde—Part 1
Essay

Devising the New Avant-garde—Part 1

The Old Coup and the New Now

28 August 2014

Whereas the old avant-garde was oriented toward an imagined future and engaged in a revolutionary project of overthrowing stale regimes and remaking art—and society—according to visionary principles, the new avant-garde is focused on the current moment.

Political (Act)ivism and the (New) Avant-garde
Essay

Political (Act)ivism and the (New) Avant-garde

26 July 2014

There is a prevailing sense that the millennial avant-garde is not creating political, activist theatre to the same extent as the avant-garde of the ’60s and ’70s. I don’t think this is true. But I do think that the challenge has changed.

Inheriting the Avant-garde, or How Do We Carry it Forward?
Essay

Inheriting the Avant-garde, or How Do We Carry it Forward?

13 June 2014

Writers and directors such as Robert Wilson, María Irene Fornes, Richard Foreman, Caryl Churchill, Elizabeth LeCompte, Judith Malina, Julian Beck, Peter Brook, Ed Bullins, and Joseph Chaikin challenged our notions of space and duration, meaning and eventfulness, theatricality and chance. They revolutionized our sense of what a play might be. That was their revolution. What is our avant-garde?

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Series are collections of content curated around a specific theme. HowlRound works with curators to develop topical pieces meant to spotlight current events and happenings within the commons.