Yquotes.com

 

The time has probably come to admit that the notion of an avant-garde is no longer useful in discussing contemporary literature. How can there be an avant-garde without a mainstream? Avant-garde de quoi? one must ask. Establishment institutions — universities, museums, foundations, commercial galleries, even the state — have embraced the idea of experimental art for so long that the avant-garde is now a safely domesticated concept, just another traditional style.
--
"Notes Toward a New Bohemia," transcript of a 1993 talk at the Poet's House, New York City, published in Poetry Flash (November/December 1993) and revised for publication in Grantmakers in the Arts (Spring 1994)

 

Dana Gioia

» Dana Gioia - all quotes »

Similar quotes

 

I think a label like "avant-garde" defeats itself. You learn to have avant-garde exhibitions. The very fact that avant-garde can have an exhibition defeats the purpose of avant-garde, because it's already formalised and ritualised.

 

John Lennon

 

The media themselves are the avant-garde of our society. Avant-garde no longer exists in painting, music and poetry, it's the media themselves.

 

Marshall McLuhan

 

Now there is no taboo; everything is allowed. But one cannot simply go back to tonality, it’s not the way. We must find a way of neither going back nor continuing the avant-garde. I am in a prison: one wall is the avant-garde, the other wall is the past, and I want to escape.

 

Gyorgy Ligeti

 

The "poetic avant-garde" relies on fantasy and dream reality as much as the Theatre of the Absurd does; it also disregards such traditional axioms as that of the basic unity and consistency of each character or the need for a plot. Yet basically the "poetic avant-garde" represents a different mood; it is more lyrical, and far less violent and grotesque. Even more important is its different attitude toward language: the "poetic avant-garde" relies to a far greater extent on consciously "poetic" speech; it aspires to plays that are in effect poems, images composed of a rich web of verbal associations.
The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself. The element of language still plays an important part in this conception, but what happens on the stage transcends, and often contradicts, the words spoken by the characters. In Ionesco's The Chairs, for example, the poetic content of a powerfully poetic play does not lie in the banal words that are uttered but in the fact that they are spoken to an ever-growing number of empty chairs.

 

Martin Esslin

 

Life is difficult for those who have the daring to first set out on an unknown road. The avant-garde always has a bad time of it.

 

Anton Chekhov