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39-489: Black box theaters have their roots in the American avant-garde of the early 20th century. The black box theaters became popular and increasingly widespread in the 1960s as rehearsal spaces. Almost any large room can be transformed into a "black box" with the aid of paint or curtains, making black box theaters an easily accessible option for theater artists. Storefronts, church basements, and old trolley barns were some examples of

78-427: A C-Clamp or a hook clamp around the pipes. In addition to this primary attachment, fixtures generally have an additional safety cable attaching them to the catwalk, so that if the clamp or bolt gives way, the safety cable will catch the light. This is used because the lights are generally very expensive and heavy, but mainly to protect the audience members and performers from the possibility of fixtures falling down from

117-460: A dialectical approach to such political stances by avant-garde artists and the avant-garde genre of art. Sociologically, as a stratum of the intelligentsia of a society, avant-garde artists, writers, architects, et al. produce artefacts — works of art, books, buildings — that intellectually and ideologically oppose the conformist value system of mainstream society. In the essay " Avant-Garde and Kitsch " (1939), Clement Greenberg said that

156-616: A black box theater can be adapted from other spaces, such as hotel conference rooms. This is common at the Edinburgh Festival Fringe where the larger venues will hire entire buildings and divide each room to be rented out to several theater companies . "The Black Box Theatre" in Oslo, Norway , and the Alvina Krause Studio at Northwestern University are theaters of this type. Black box theaters have also been known to come with

195-535: A catwalk is usually placed high above the floor, spaces where lighting instruments can go are usually chained or otherwise blocked off when a light is not present to prevent people and/or objects from falling through. The instruments themselves are attached by a safety chain to prevent them from falling. Technicians normally attach objects (such as wrenches ) to themselves before going onto the catwalk, so that such objects cannot fall and possibly injure someone or damage something. This also prevents objects from falling into

234-586: A handful of disadvantages. The open space may leave "too many" options that can leave many at a loss for direction or inspiration. Lighting issues arise as the primary lighting is typically above the performance area. During blackout scenes, the close proximity of the audience allows them to still see the transitions happening on stage. Black box spaces also see success within the music industry. These spaces are known to be used to host vocal and instrumental performances, rehearsals, shows, and competitions. Most older black boxes were built like television studios , with

273-452: A large proscenium theater, as well as a black box theater. Not only does this allow two productions to be mounted simultaneously, but they can also have a large extravagant production in the main stage while having a small experimental show in the black box. Black box spaces are also popular at fringe theater festivals; due to their simple design and equipment they can be used for many performances each day. This simplicity also means that

312-479: A low pipe grid overhead. Newer black boxes typically feature catwalks or tension grids , the latter combining the flexibility of the pipe grid with the accessibility of a catwalk. They were designed to be able to be spaces that can be molded into different settings easily for multiple performances. Black box theaters accommodate smaller audiences with the goal of having more intimate experiences. The interiors of most black box theatres are painted black, although that

351-541: A post-modern time when the modernist ways of thought and action and the production of art have become redundant in a capitalist economy. Parting from the claims of Greenberg in the late 1930s and the insights of Poggioli in the early 1960s, in The De-Definition of Art: Action Art to Pop to Earthworks (1983), the critic Harold Rosenberg said that since the middle of the 1960s the politically progressive avant-garde ceased being adversaries to artistic commercialism and

390-419: A series of two or more catwalks running parallel to the proscenium arch above a false ceiling. Stairs or a ladder up to the catwalks is usually located somewhere backstage. In modern theatres, many architects design catwalks into the "look" of the theatre. In black box theatres, catwalks and pipe grids may be the only architectural feature. A catwalk may also be placed upstage of the proscenium as part of

429-571: A society, avant-garde artists promote progressive and radical politics and advocate for societal reform with and through works of art. In the essay "The Artist, the Scientist, and the Industrialist" (1825), Benjamin Olinde Rodrigues 's political usage of vanguard identified the moral obligation of artists to "serve as [the] avant-garde" of the people, because "the power of the arts is, indeed,

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468-505: A stage instigated a half-century of innovations in the relationship between audience and performers. This idea would again be re-visited by Harley Granville Barker , using Appia's design as his basis. Barker would have ideas of directing productions in “a great white box,” which would see success in 1970. As time went on, black boxes were decided on instead as black provided the most neutral setting for productions. Antonin Artaud also had ideas of

507-574: A stage of this kind. The first flexible stage in America was located in the home living room of actor and manager Gilmor Brown in Pasadena, California. While the domestic decor meant that Brown's stage was not a proper black box, the idea was still a revolutionary one. This venue, and two subsequent permutations, are known as the Playbox Theatre, and functioned as an experimental space for Brown's larger venue,

546-525: Is another definition of "Avant-gardism" that distinguishes it from "modernism": Peter Bürger, for example, says avant-gardism rejects the "institution of art" and challenges social and artistic values, and so necessarily involves political, social, and cultural factors. According to the composer and musicologist Larry Sitsky , modernist composers from the early 20th century who do not qualify as avant-gardists include Arnold Schoenberg, Anton Webern, and Igor Stravinsky; later modernist composers who do not fall into

585-633: Is facilitated by mechanically produced art-products of mediocre quality displacing art of quality workmanship; thus, the profitability of art-as-commodity determines its artistic value. In The Society of the Spectacle (1967), Guy Debord said that the financial, commercial, and economic co-optation of the avant-garde into a commodity produced by neoliberal capitalism makes doubtful that avant-garde artists will remain culturally and intellectually relevant to their societies for preferring profit to cultural change and political progress. In The Theory-Death of

624-428: Is not exclusive (a black box doesn't have to be black to be considered a black box, though black is most common). The absence of colour not only gives the audience a sense of "anyplace" (and thus allows flexibility from play to play or from scene to scene), it also allows for an innovative lighting design to shine through. The architecture of black box theaters typically allow for easy modifications and decorations, but at

663-546: Is not reducible to a kitsch style or reactionary orientation, but can instead be used to refer to artists who engage with the legacy of the avant-garde while maintaining an awareness that doing so is in some sense anachronistic. The critic Charles Altieri argues that avant-garde and arrière-garde are interdependent: "where there is an avant-garde, there must be an arrière-garde ." Avant-garde in music can refer to any form of music working within traditional structures while seeking to breach boundaries in some manner. The term

702-615: Is used loosely to describe the work of any musicians who radically depart from tradition altogether. By this definition, some avant-garde composers of the 20th century include Arnold Schoenberg , Richard Strauss (in his earliest work), Charles Ives , Igor Stravinsky , Anton Webern , Edgard Varèse , Alban Berg , George Antheil (in his earliest works only), Henry Cowell (in his earliest works), Harry Partch , John Cage , Iannis Xenakis , Morton Feldman , Karlheinz Stockhausen , Pauline Oliveros , Philip Glass , Meredith Monk , Laurie Anderson , and Diamanda Galás . There

741-468: The Pasadena Playhouse . Such spaces are easily built and maintained. Black box theaters are usually home to plays or other performances requiring very basic technical arrangements, such as limited set construction . Common floor plans include thrust stage , modified thrust stage, and theater in the round . Universities and other theater training programs employ the black box theater because

780-624: The Situationist International (1957–1972) to the postmodernism of the American Language poets (1960s–1970s). The French military term avant-garde (advanced guard) identified a reconnaissance unit who scouted the terrain ahead of the main force of the army. In 19th-century French politics, the term avant-garde (vanguard) identified Left-wing political reformists who agitated for radical political change in French society. In

819-475: The fly system . These may be fixed, or they may be able to be raised and lowered. In older decorated theaters, the catwalks are not designed to be seen by the audience. Sometimes, because of this, they are placed in the attic area above the auditorium’s ceiling, where slots and movable panels provide openings into the auditorium from the ceiling. Most catwalks have several battens (pipes) that lighting fixtures may be attached to. Lights are usually attached by

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858-410: The stage . The catwalks provide easy access for theater personnel to perform common tasks. For example, lights may need to be accessed for maintenance, position adjustment, or addition and removal of gels and gobos . Typically, catwalks are located in positions hidden from audience view or directly above an audience, and are considered "behind-the-scenes". For example, many proscenium theaters have

897-491: The Avant-Garde ( Teoria dell'arte d'avanguardia , 1962), the academic Renato Poggioli provides an early analysis of the avant-garde as art and as artistic movement. Surveying the historical and social, psychological and philosophical aspects of artistic vanguardism, Poggioli's examples of avant-garde art, poetry, and music, show that avant-garde artists share some values and ideals as contemporary bohemians . In Theory of

936-473: The Avant-Garde ( Theorie der Avantgarde , 1974), the literary critic Peter Bürger looks at The Establishment 's embrace of socially critical works of art as capitalist co-optation of the artists and the genre of avant-garde art, because "art as an institution neutralizes the political content of the individual work [of art]". In Neo-avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975 (2000), Benjamin H. D. Buchloh argues for

975-673: The Avant-Garde (1991), Paul Mann said that the avant-garde are economically integral to the contemporary institutions of the Establishment, specifically as part of the culture industry . Noting the conceptual shift, theoreticians, such as Matei Calinescu , in Five Faces of Modernity: Modernism, Avant-garde, Decadence, Kitsch, Postmodernism (1987), and Hans Bertens in The Idea of the Postmodern: A History (1995), said that Western culture entered

1014-458: The artistic vanguard oppose high culture and reject the artifice of mass culture , because the avant-garde functionally oppose the dumbing down of society — be it with low culture or with high culture . That in a capitalist society each medium of mass communication is a factory producing artworks, and is not a legitimate artistic medium; therefore, the products of mass culture are kitsch , simulations and simulacra of Art. Walter Benjamin in

1053-515: The avant-garde traditions in both the United States and Europe. Among these are Fluxus , Happenings , and Neo-Dada . Brutalist architecture was greatly influenced by an avant-garde movement. Catwalk (theater) A catwalk is an elevated service platform from which many of the technical functions of a theater , such as lighting and sound, may be manipulated. Catwalks are used to suspend lighting instruments and microphones directed at

1092-416: The category of avant-gardists include Elliott Carter , Milton Babbitt , György Ligeti , Witold Lutosławski , and Luciano Berio , since "their modernism was not conceived for the purpose of goading an audience." The 1960s saw a wave of free and avant-garde music in jazz genre, embodied by artists such as Ornette Coleman , Sun Ra , Albert Ayler , Archie Shepp , John Coltrane and Miles Davis . In

1131-478: The catwalks. Catwalks often include a platform for a spotlight operator to work from. A typical catwalk has a built in electrical conduit to carry power for the lighting fixtures from the dimmers . They often hold other electrical wiring, for example standard sockets for tools, coaxial cable for projection and video monitors, built-in safety lighting to protect technicians, audio cables, and special cables for headset communications with other technicians. Since

1170-416: The cultural values of contemporary bourgeois society . In the U.S. of the 1960s, the post–WWII changes to American culture and society allowed avant-garde artists to produce works of art that addressed the matters of the day, usually in political and sociologic opposition to the cultural conformity inherent to popular culture and to consumerism as a way of life and as a worldview . In The Theory of

1209-489: The earliest versions of spaces transformed into black box theaters. Sets are simple and small and costs are lower, appealing to nonprofit and low-income artists or companies. The black box is also considered by many to be a place where more "pure" theatre can be explored, with the most human and least technical elements in focus. The concept of a building designed for flexible staging techniques can be attributed to Swiss designer Adolphe Appia , circa 1921. The invention of such

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1248-506: The essay " The Work of Art in the Age of Mechanical Reproduction " (1939) and Theodor Adorno and Max Horkheimer in the Dialectic of Enlightenment (1947) said that the artifice of mass culture voids the artistic value (the aura ) of a work of art. That the capitalist culture industry (publishing and music, radio and cinema, etc.) continually produces artificial culture for mass consumption, which

1287-409: The expense of time and monetary cost. Avant-garde In the arts and literature , the term avant-garde (from French meaning ' advance guard ' or ' vanguard ' ) identifies an experimental genre or work of art , and the artist who created it, which usually is aesthetically innovative, whilst initially being ideologically unacceptable to the artistic establishment of

1326-535: The mediocrity of mass culture , which political disconnection transformed being an artist into "a profession, one of whose aspects is the pretense of overthrowing [the profession of being an artist]." Avant-garde is frequently defined in contrast to arrière-garde , which in its original military sense refers to a rearguard force that protects the advance-guard. The term was less frequently used than "avant-garde" in 20th-century art criticism. The art historians Natalie Adamson and Toby Norris argue that arrière-garde

1365-493: The mid-19th century, as a cultural term, avant-garde identified a genre of art that advocated art-as-politics, art as an aesthetic and political means for realising social change in a society. Since the 20th century, the art term avant-garde identifies a stratum of the Intelligentsia that comprises novelists and writers, artists and architects et al. whose creative perspectives, ideas, and experimental artworks challenge

1404-484: The most immediate and fastest way" to realise social, political, and economic reforms. In the realm of culture, the artistic experiments of the avant-garde push the aesthetic boundaries of societal norms , such as the disruptions of modernism in poetry, fiction, and drama, painting, music, and architecture, that occurred in the late 19th and in the early 20th centuries. In art history the socio-cultural functions of avant-garde art trace from Dada (1915–1920s) through

1443-593: The rock music of the 1970s, the "art" descriptor was generally understood to mean "aggressively avant-garde" or "pretentiously progressive". Post-punk artists from the late 1970s rejected traditional rock sensibilities in favor of an avant-garde aesthetic. Whereas the avant-garde has a significant history in 20th-century music, it is more pronounced in theatre and performance art, and often in conjunction with music and sound design innovations, as well as developments in visual media design. There are movements in theatre history that are characterized by their contributions to

1482-478: The space is versatile and easy to change. The black backdrop can encourage the audience to focus on the actors, furthering the benefits. Additionally, as the audience is now closer to the stage due to the lack of a proscenium , a more intimate atmosphere is able to be created. This intimate space may also serve to try and eliminate the implied mental distance between the audience and actors, while it still physically remains. Many theater training programs will have both

1521-399: The time. The military metaphor of an advance guard identifies the artists and writers whose innovations in style, form, and subject-matter challenge the artistic and aesthetic validity of the established forms of art and the literary traditions of their time; thus, the artists who created the anti-novel and Surrealism were ahead of their times. As a stratum of the intelligentsia of

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