caa a22 4500 386362890 CHVBK 20180307111922.0 cr unu---uuuuu 161130e198902 xx s 000 0 eng 10.1017/S0266464X0001530X doi S0266464X0001530X pii (NATIONALLICENCE)cambridge-10.1017/S0266464X0001530X Bell John The Bread and Puppet Theatre in Nicaragua, 1987 [Elektronische Daten] [John Bell] PETER SCHUMANN's Bread and Puppet Theatre began 25 years ago as a new way of making modern theatre, and as Schumann sees it, still is. As he recently stated, "there are two aspects to this newness: (1) the proposal for a much bigger, wider space for the arts to exist in than the space that the arts occupy now - a way for painting, music, sculpture, and language to exist together and in response to the questions of the time in which they live; and (2) the puppet theatre aspect: puppet theatre not as a special branch of theatre but as a challenge to theatre, as a concrete proposal for the overcoming of its shortcomings - a liberation from that fixed old schmaltz - a proposal for much bigger form, much more compositional freedom and adventure than an actors' theater can ever come up with.” Copyright © Cambridge University Press 1989 New Theatre Quarterly Cambridge University Press 5/17(1989-02), 8-22 0266-464X 5:17<8 1989 5 NTQ https://doi.org/10.1017/S0266464X0001530X text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0266464X0001530X text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Bell John NATIONALLICENCE 773 0- New Theatre Quarterly Cambridge University Press 5/17(1989-02), 8-22 0266-464X 5:17<8 1989 5 NTQ CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge