Artaud and His Doublesis a radical re-thinking of one of the most influential theater figures of the twentieth century. Placing Artaud's writing within the specific context of European political, ...theatrical, and intellectual history, the book reveals Artaud's affinities with a disturbing array of anti-intellectual and reactionary writers and artists whose ranks swelled catastrophically between the wars in Western Europe.
Kimberly Jannarone shows that Artaud's work reveals two sets of doubles: one, a body of peculiarly persistent received interpretations from the American experimental theater and French post-structuralist readings of the 1960s; and, two, a darker set of doubles---those of Artaud's contemporaries who, in the tumultuous, alienated, and pessimistic atmosphere enveloping much of Europe after World War I, denounced the degradation of civilization, yearned for cosmic purification, and called for an ecstatic loss of the self.Artaud and His Doubleswill generate provocative new discussions about Artaud and fundamentally challenge the way we look at his work and ideas.
The definitive guide to the life and work of Antonin Artaud Antonin Artaud's theatre of cruelty is one of the most vital forces in world theatre, yet the concept is one of the most frequently ...misunderstood. In this incisive study, Albert Bermel looks closely at Artaud's work as a playwright, director, actor, designer, producer and critic, and provides a fresh insight into his ideas, innovations and, above all, his writings. Tracing the theatre of cruelty's origins in earlier dramatic conventions, tribal rituals of cleansing, transfiguration and exaltation, and in related arts such as film and dance, Bermel examines each of Artaud's six plays for form and meaning, as well as surveying the application of Artaud's theories and techniques to the international theatre of recent years.
Artaud the Moma Derrida, Jacques; Cabañas, Kaira M; Kamuf, Peggy
09/2017
eBook
In 1996 Jacques Derrida gave a lecture at the Museum of Modern Art in New York on the occasion ofAntonin Artaud: Works on Paper, one of the first major international exhibitions to present the ...avant-garde dramatist and poet's paintings and drawings. Derrida's original title, "Artaud the Moma," is a characteristic play on words. It alludes to Artaud's calling himself Mômo, Marseilles slang for "fool," upon his return to Paris in 1946 after nine years in various asylums, while playing off of the museum's nickname, MoMA. But the title was not deemed "presentable or decent," in Derrida's words, by the very institution that chose to exhibit Artaud's work. Instead, the lecture was advertised as "Jacques Derrida . . . will present a lecture about Artaud's drawings."For Derrida, what was at stake was what it meant for the museum to exhibit Artaud's drawings and for him to lecture on Artaud in that institutional context. Thinking over the performative force of Artaud's work and the relation between writing and drawing, Derrida addresses the multiplicity of Artaud's identities to confront the modernist museum's valorizing of originality. He channels Artaud's specter, speech, and struggle against representation to attempt to hold the museum accountable for trying to confine Artaud within its categories.Artaud the Moma, as lecture and text, reveals the challenge that Artaud posed to Derrida-and to art and its institutional history. A powerful interjection into the museum halls, this work is a crucial moment in Derrida's thought and an insightful, unsparing reading of a challenging writer and artist.
Aus einer interdisziplinären Perspektive denkt der Beitrag über neue Anregungen zu einer allgemeinen Theorie des individuellen Autorstils nach. Ausgehend von klassischen Stilbegriffen von Georges ...Buffon, Ludwig Börne und Roland Barthes steht dabei die Frage im Vordergrund, inwiefern die erzählanalytischen Methoden der psychologischen Wissenschaften dazu beitragen können, den Zusammenhang zwischen Autorpsyche und Stil zu erhellen. Dass eine Wechselwirkung unbestreitbar ist, zeigt das Bespiel des surrealistischen Schriftstellers Antonin Artauds, dessen Werk oft in einem biographischen und pathologischen Rahmen untersucht wird. Artauds Stil gründet jedoch weit darüber hinausgehend auf einer komplexen, das Unbewusste und Triebhafte ausschöpfenden, surrealistischen Poetik. Nicht nur im Hinblick auf die enge Verschränkung von Somatik, Poetik und Psyche in Artauds Werk, sondern auch in Bezug auf eine allgemeine Theorie zeigt sich der Stil als ein überdeterminiertes und komplexes Phänomen, das sich einer absoluten auktorialen und analytischen Kontrolle entzieht.
C’est moi, Artaud, Antonin, cinquante piges, qui le fais, de prendre la peau, et de la crever,au lieu d’attendre son rétablissement physiologique par suppôt dans le sens du papa nouveau,de même que ...quand le vertige a lieu,je ne m’en réfère pas à dieude redresser les enfants du père, mais premièrement je laisse pisser le mérinos, en frappant à coups de pied les êtres, pour qu’ils s’éloignent de mon feu. C’est lui, mon compagnon de longue date, peut-être le plus ancien. Je range Antonin Artaud dans la catégorie de mes « écrivains méchants », aux côtés de V. S. Naipaul et de Thomas Bernhard. Comme eux, il a puisé à sa propre vie, obsédé par la filiation et la famille, pour construire un cosmos en modèle réduit. Des trois, Artaud est néanmoins celui qui va le plus loin : corps émietté, visage défiguré, multitude d’avatars et de doubles… Cela insuffle à sa trajectoire la fulgurante incandescence d’un astre errant, traversé par l’électricité, et capable, telle une divinité, de faire gronder le tonnerre et l’ouragan.
Sin embargo, un análisis más detenido de su letrística y de su poesía, junto con la observación de las consideraciones del propio Spinetta en torno a su obra, revelan, en primer término, que la ...asociación entre la obra spinettiana y la figura de Antonin Artaud, más que constituir una adhesión completa al surrealismo como tendencia que determine la totalidad de su quehacer artístico, es un elemento clave pero no el único dentro del universo de recursos culturales de los que Spinetta hace uso. Si bien el disco Artaud ha alcanzado mayor notoriedad que otras creaciones del argentino, en función de su calidad musical y de su buena recepción por parte del público y de la prensa musical, no representa necesariamente la adhesión univoca de la totalidad de su creación al surrealismo, ni que Spinetta compartiera en totalidad el proceder de Antonin Artaud en cuanto a la forma y el contenido de su obra, pues el mismo músico indica: Sin embargo, es desde la relación con la escritura surrealista que los principales estudios críticos han hecho ingreso a su obra. Al respecto Hugo Valenzuela (2002) indica: "la similitud entre posmodernismo y romanticismo es sorprendente ... la contra-Ilustración siguió a la Ilustración, resucitó hace menos de un siglo . y renace ahora con el posmodernismo" (2).
This book studies the development of Artaud's thinking throughout his career on such issues as the body, theology, language, and identity. His late poetry is discussed in depth and new attention is ...paid to the verbal details of his writing and to the way he builds up his ideas. Artaud emerges as a man of ideas performing disturbing conceptual work, but needs to be considered not as a contestatory psychotic but as a writer of the first order.
Drawing on some of the most influential studies on Carmelo Bene, this article aims to offer interpretive tools that will enhance viewers’ and listeners’ appreciation of his misreadings of Hamlet and ...Macbeth. It also suggests that la scrittura di scena (scenic writing) and la macchina attoriale (the actorial machine), his most celebrated inventions as an actor, dramatist and musicologist, are two theatrical methods that could possibly assist the ongoing decolonial reinvention of Shakespeare’s stories in the (South) African context. The article provides introductory biographical notes on Bene and an overview of his main literary and philosophical influences. It then discusses the key concepts of scenic writing and the actorial machine as applied to Bene’s rewriting of Hamlet and Macbeth. Finally, it suggests some potential lines of research for decolonial scholars, playwrights, actors and poets from South Africa and beyond.
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