The development of avant-garde theatre is driven by a paradox: the pursuit of theatrical innovation stems from a deep-seated primitivism. Christopher Innes, a scholar of theatre history, examines this phenomenon by tracing the evolution of avant-garde theatre from the 1890s to the early 1990s. He argues that key figures like Strindberg, Artaud, Brook, and Mnouchkine share an idealization of the elemental and a search for ritual in archaic traditions. This widespread primitivism, Innes contends, is fundamental to understanding both the political and aesthetic dimensions of modern theatre and offers insights into contemporary social trends.

This revised edition of 'Holy Theatre' offers a comprehensive survey of avant-garde theatre, tracing its development and identifying primitivism as a core driving force. The inclusion of new sections on prominent practitioners like Heiner Muller and Robert Wilson broadens its scope, making it a valuable resource for understanding contemporary drama. The book's analysis of the political and aesthetic dimensions, linked to anthropological and psychological theories, provides a robust framework for interpreting theatrical innovation. It is positioned as essential reading for students and scholars of modern theatre.