Word: avant
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Dates: during 1960-1969
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...orchestra than ever before. Among composers of the past, Hector Berlioz was perhaps the first to pay much attention to the symphonic battery of drums. Later on, Stravinsky and Bartok proved that percussionists could do more interesting things than simply thump out a basic rhythm. Nowadays such avant-gardists as Pierre Boulez, John Cage, Luciano Berio and Karl-heinz Stockhausen treat the percussionist as a performer with rights (and responsibilities) equal to any other soloist...
...TODAY'S avant-garde in film is a director's movement. The American audience knowns Italian, French, Czech films as the work individual men. College audience, the newly-discovered gold mine of U.S. film distributors, appreciate foreign films for qualities of high social artistic awareness and personal expression. Given the importance of the youth market for ticket sales, the trend has even hit Hollywood, long considered by native critics the place where individual talent is lost. The names of young directors (Arthur Penn and, unfortunately, Mike Nichols) are becoming good box office. Hollywood has even begun to conceive that...
...doctrine that lifted directors to their new eminence first appeared in the pages of the resolutely avant-garde French magazine Cahiers du Cinema. In January 1954, Truffaut, then a critic and aspiring film maker, wrote a prophetic article entitled "Politique des Auteurs" ("The Mark of the Author"). Its purpose: to show that celluloid could be just as prestigious as paper. Movies were not group art, he argued. The scenario, camera work and acting were all under the unifying force of the director -the author of a body of film work...
...worst moments seem to fascinate Poland's avant-garde composer Krzysztof Penderecki. In his Threnody for the Victims of Hiroshima, Dies Irae (an oratorio in memory of the dead of Auschwitz) and The Passion and Death of Jesus Christ According to St. Luke, Penderecki treated mass annihilation and murder with moving intensity, stretching the limits of orchestral and vocal range so far that he had to invent new notational symbols for his score (TIME, Oct. 14, 1966). Thus it was only appropriate that for his first opera he chose as his subject a tale of mass hysteria and political...
...justify his updating, Kahn points Shakespeare's "Fantastic innovation," and asserts that production today should similarly "surprise, delight and astonish our audience." But Shakespeare was not a revolutionary. His plays impressed the Globe Theatre's audiences not because they were particularly avant-garde but simply because they generally were better than those written by anybody else. Kahn also states that one must be "true to the play," but it seems to me that, in this production, he has done quite the opposite...