By Sarah Bay-Cheng
Mama Dada is the 1st booklet to envision Gertrude Stein's drama in the background of the theatrical and cinematic avant-gardes. because the ebook of Stein's significant writings by means of the Library of the US in 1998, curiosity in her dramatic writing has escalated, relatively in American avant-garde theaters. This ebook addresses the becoming curiosity in Stein's theater by way of supplying the 1st unique analyses of her significant performs, and by means of contemplating them inside of a bigger heritage of avant-garde functionality. as well as evaluating Stein's performs and theories to these generated by way of Dadaists, Surrealists, and Futurists, this learn additional explores the individuality of Stein through those theatrical routine, together with discussions of her curiosity in American lifestyles and drama, which argues major and heretofore unrecognized dating exists one of the histories of avant-garde drama, cinema, and homosexuality. by means of analyzing and explaining the connection between those 3 histories, the dramatic writings of Stein can most sensible be understood, not just as examples of literary modernism, but additionally as influential dramatic works that experience had an enduring impact at the American theatrical avant-
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Additional resources for Mama Dada: Gertrude Stein's Avant-Garde Theater (Studies in Modern Drama)
Thus, the accumulation of images creates the integrated work of art. The whole is created as the sum of its fragments. This principle of fragmented unity and repetition is central to the avant-garde cinema. In Ferdinand Léger’s seminal avant-garde film Le Ballet Mécanique (1924), a woman climbs stairs toward the camera. Léger replays this shot over and over, such that the woman repeatedly ascends the stairs but never reaches the top. Because an identical moment in time is repeated, the progression of time within the space of the film is stunted.
The two are very helpful. A team comes along and takes american painter and all to hospital. Two 40 MAMA DADA Americans ride off on motor cycles direction of Nimes and Pont du Gard. (396) Contained within a single paragraph, or major cut, this series of actions conveys a physical journey with (for Stein) an uncharacteristic economy of language. The turning point in the script is the car crash, perhaps intentional against the painter as spy. When he awakens in the hospital, the painter valiantly leaves in search of the motorcyclists, who, after an “exciting duel,” are discovered to have robbed the American military stationed in Paris.
Is mine. Is it mine. and John. Josephine. 21 They may be. Thought. As well. Naturally. (174–175) If one initially ignores the series of names on the left, the text of the scene (labeled “Scene II,” though it is neither the second scene of the play, nor the only scene labeled as such) reads as a seemingly arbitrary dividing of words into two sentences. Stein begins the series with a clear statement followed by a halting questioning of that statement: “It is mine. When. Is it. ” This question (though lacking a question mark) is repeated in three slightly different forms: “When is.