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Kate Armond, Modernism and the Theatre of the Baroque

Kate Armond, Modernism and the Theatre of the Baroque BOOK REVIEWS Kate Armond, Modernism and the Theatre of the Baroque (Edinburgh: Edinburgh University Press, 2019). 192 pp. ISBN: 9781474452441. For all its famed proclamation to ‘make it new’, there is no doubt that modernism has always taken an interest in the past. One need only read T. S. Eliot’s The Waste Land or watch Isadora Duncan’s Hellenic dances to prove this truism. Kate Armond’s Modernism and the Theatre of the Baroque demonstrates this in a new way by exploring the influence of seventeenth and early eighteenth-century art on the cultural innovations of the twentieth century’s opening decades. In this study Armond enables an alternative reading of modernism, one firmly grounded in a polyvocal performance aesthetic. This book, alongside numerous others, illustrates that the disciplinary sands are shifting and theatre is becoming a more valued contributor to transdisciplinary modernism. If, as Armond suggests, ‘Baroque theatre was never confined to the stage’ (7), but rather seeped into other artforms, then this is a study that, by design, values the often underplayed impact of theatre on modernism. Indeed, this book constantly reveals that the baroque (in its myriad artistic incarnations) and the theatre have been confronted by similar assumptions and prejudices: http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Modernist Cultures Edinburgh University Press

Kate Armond, Modernism and the Theatre of the Baroque

Warden, Claire
Modernist Cultures , Volume 15 (4): 3 – Nov 1, 2020
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Publisher
Edinburgh University Press
Copyright
Copyright © Edinburgh University Press
ISSN
2041-1022
eISSN
1753-8629
DOI
10.3366/mod.2020.0312
Publisher site
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Abstract

BOOK REVIEWS Kate Armond, Modernism and the Theatre of the Baroque (Edinburgh: Edinburgh University Press, 2019). 192 pp. ISBN: 9781474452441. For all its famed proclamation to ‘make it new’, there is no doubt that modernism has always taken an interest in the past. One need only read T. S. Eliot’s The Waste Land or watch Isadora Duncan’s Hellenic dances to prove this truism. Kate Armond’s Modernism and the Theatre of the Baroque demonstrates this in a new way by exploring the influence of seventeenth and early eighteenth-century art on the cultural innovations of the twentieth century’s opening decades. In this study Armond enables an alternative reading of modernism, one firmly grounded in a polyvocal performance aesthetic. This book, alongside numerous others, illustrates that the disciplinary sands are shifting and theatre is becoming a more valued contributor to transdisciplinary modernism. If, as Armond suggests, ‘Baroque theatre was never confined to the stage’ (7), but rather seeped into other artforms, then this is a study that, by design, values the often underplayed impact of theatre on modernism. Indeed, this book constantly reveals that the baroque (in its myriad artistic incarnations) and the theatre have been confronted by similar assumptions and prejudices:

Journal

Modernist Cultures – Edinburgh University Press

Published: Nov 1, 2020

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