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A groundbreaking study on the vital role of baroque theater in shaping modernist philosophy, literature, and performance.Winner, Helen Tartar First Book Subvention AwardBaroque style--with its emphasis on ostentation, adornment, and spectacle--might seem incompatible with the dominant forms of art since the Industrial Revolution, but between 1875 and 1935, European and American modernists connected to the theater became fascinated with it. In Baroque Modernity, Joseph Cermatori argues that the memory of seventeenth-century baroque stages helped produce new forms of theater, space, and experience around the turn of the twentieth century. In response, modern theater helped give rise to the development of the baroque as a modern philosophical idea.The book focuses on avant-gardists whose writing takes place between theory and performance: philosophical theater-makers and theatrical philosophers including Friedrich Nietzsche, Stéphane Mallarmé, Walter Benjamin, and Gertrude Stein. Moving between page and stage, this study tracks the remnants of seventeenth-century theater through modernist aesthetics across an array of otherwise disparate materials, including modern opera, Bertolt Brecht's Epic Theater, poetic tragedies, and miracle plays. By reexamining the twentieth century's engagements with Gianlorenzo Bernini, William Shakespeare, Claudio Monteverdi, Calderón de la Barca, and other seventeenth-century predecessors, the book delineates an enduring tradition of baroque performance. Along the way, Cermatori expands our familiar narratives of "the modern" and traces a history of theatricality that reverberates into the twenty-first century.Baroque Modernity will appeal to readers in a wide array of disciplines, including comparative literature, theater and performance, art and music history, intellectual history, and aesthetic theory.

European drama --- Aesthetics, Baroque. --- Theater --- Drama --- Modernism (Literature) --- History and criticism. --- History --- Baroque influences. --- Aesthetics, Baroque --- History and criticism --- Baroque influences

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Art --- History of civilization --- Baroque --- anno 1600-1699 --- anno 1700-1799 --- Switzerland --- cultuurgeschiedenis --- Art, Baroque --- Architecture, Baroque --- Aesthetics, Baroque

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What is the Baroque? Where did it come from and where did it go? Why do we have to ask these questions? Because art historians seem largely satisfied with their answers and most scholars of German literature are not satisfied, yet have stopped asking.This book discerns in the Baroque an aesthetic phenomenon that crosses both media and national boundaries in its celebration of excess and its disintegration of system, unity, and identity. The compositional principles and theoretical implications of the Baroque, as it first arose in Italian art, find expression in German poetics, drama, poetry, and narrative - expression accessible only through resolute close reading. Readings of Bernini, Borromini, Velázquez, Rubens, Fracanzano, and de Hooch precipitate readings of Opitz, Gryphius, Fleming, Zesen, Hoffmannswaldau, and Grimmelshausen, demonstrating that seventeenth-century German literature both is Baroque and confirms what the Baroque is.

Literature. --- Belles-lettres --- Western literature (Western countries) --- World literature --- Philology --- Authors --- Authorship --- Cultural studies. --- German literature --- Baroque literature --- Arts, Baroque --- Aesthetics, Baroque. --- History and criticism. --- Baroque aesthetics --- Baroque arts --- Architektur --- Skulptur --- Malerei --- Poetik --- Lyrik --- Drama --- Roman --- System --- Ästhetik --- interdisziplinär --- Architecture --- Sculpture --- Painting --- Poetics --- Poetry --- Novel --- Aesthetics --- Interdisciplinary