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Einstein on the Beach
by
JONATHAN KALB
in
Aesthetics
/ Applied aesthetics
/ Applied sciences
/ Art genres and movements
/ Art history
/ Arts
/ Audiences
/ Avant garde
/ Axiology
/ Consumers
/ Engineering
/ Ground transportation
/ Ground vehicles
/ Human populations
/ Melody
/ Modernist art
/ Music
/ Music theory
/ Musical aesthetics
/ Musical forms
/ Musical motives
/ Musical pitch
/ Musical rhythm
/ Musical theater
/ Musical time
/ Opera
/ Performing arts
/ Persons
/ Philosophy
/ Population studies
/ Railroad trains
/ Social sciences
/ Theater
/ Theater history
/ Theatrical genres
/ Transportation
/ Transportation modes
2011
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Einstein on the Beach
by
JONATHAN KALB
in
Aesthetics
/ Applied aesthetics
/ Applied sciences
/ Art genres and movements
/ Art history
/ Arts
/ Audiences
/ Avant garde
/ Axiology
/ Consumers
/ Engineering
/ Ground transportation
/ Ground vehicles
/ Human populations
/ Melody
/ Modernist art
/ Music
/ Music theory
/ Musical aesthetics
/ Musical forms
/ Musical motives
/ Musical pitch
/ Musical rhythm
/ Musical theater
/ Musical time
/ Opera
/ Performing arts
/ Persons
/ Philosophy
/ Population studies
/ Railroad trains
/ Social sciences
/ Theater
/ Theater history
/ Theatrical genres
/ Transportation
/ Transportation modes
2011
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Do you wish to request the book?
Einstein on the Beach
by
JONATHAN KALB
in
Aesthetics
/ Applied aesthetics
/ Applied sciences
/ Art genres and movements
/ Art history
/ Arts
/ Audiences
/ Avant garde
/ Axiology
/ Consumers
/ Engineering
/ Ground transportation
/ Ground vehicles
/ Human populations
/ Melody
/ Modernist art
/ Music
/ Music theory
/ Musical aesthetics
/ Musical forms
/ Musical motives
/ Musical pitch
/ Musical rhythm
/ Musical theater
/ Musical time
/ Opera
/ Performing arts
/ Persons
/ Philosophy
/ Population studies
/ Railroad trains
/ Social sciences
/ Theater
/ Theater history
/ Theatrical genres
/ Transportation
/ Transportation modes
2011
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Einstein on the Beach
2011
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Overview
IT HAS LONG BEEN FASHIONABLE to refer to the Broadway theater as the fabulous invalid—perpetually sick with a crippling illness that never kills it. Anyone with theatergoing experience not confined to the commercial, however, knows that the truly fabulous invalid for most of the past hundred years has been the avant-garde theater. Decade after decade from the 1890s on, the succession of Euro-American avant–garde movements performed their signature act of rising miraculously from the deathbed of a predecessor, flush with rejuvenating rage at outdated practices and principles and hell-bent on implementing better ones. In retrospect, it is astonishing
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