Most readers know Antonin Artaud as a theorist of the theatre and as a playwright, director and actor manqué. Now, John C. Stout's highly original study installs Artaud as a writer and theorist of ...biography. In Alternate Genealogies Stout analyzes two separate but interrelated preoccupations central to Artaud's work: the self-portrait and the family romance. He shows how Artaud, in several important but relatively neglected texts, rewrites the life stories of historical and literary figures with whom he identifies (for example, Paolo Ucello, Abelard, Van Gogh and Shelley's Francesco Cenci) in an attempt to reinvent himself through the image, or life, of another. Throughout the book Stout focusses on Artaud's struggles to recover the sense of self that eludes him and to master the reproductive process by recreating the family in — and as — his own fantasies of it. With this research John C. Stout has added considerably to our understanding of Artaud. His book will be much appreciated by theatre scholars, Artaud specialists, Freudians, Lacanians and both theorists and practitioners of life writing.
Bien que contemporains, la distance qui sépare l'oeuvre de l'artiste surréaliste Antonin Artaud de la philosophe Simone Weil peut se mesurer à l'aune de deux concepts antonymes que sont la cruauté et ...la charité. L'une et l'autre ont cependant partie liée à une épreuve et à une écriture de la souffrance que le présent article se propose de mettre en perspective. S'engage alors un dialogue médico-religieux où se déploient des affinités d'imaginaires aussi flagrantes qu'inouïes. Exilés de leur propre corps, l'écriture leur ouvre des lieux où se recomposent des existences déchirées et où s'éclaire l'ambivalence entre violence et santé. Leurs drames, ainsi que ceux de l'Histoire, se traduisent en des trames occultes et erratiques qui font signe vers un sens renouvelé du sacré.
Ao propor uma análise comparativa entre "Teatro oriental e teatro ocidental" em O teatro e seu duplo (1993), Antonin Artaudexpõe sua conhecida crítica em relação à submissão do espetáculo ao texto ...dramático. Segundo Artaud, a tradição ocidental faria do teatro um "simples reflexo material do texto", tornando problemática a própria separação do "teatro da ideia de texto realizado".Condicionada por esse tipo de afirmação, Les Cenci (2011), escrita por Artaud e encenada pela primeira vez em 1935 sob sua direção, teria causado certo incômodo entre parte dos seus admiradores. Para estes, haveria uma contradição entre as posições teóricas do autor e a proposta cênica de um espetáculo que, no final das contas, orbitaria em torno de um texto. Ao problematizar esse tipo de recepção num prefácio escrito para a peça, Michel Corvin (2011) chama atenção para a relevância que as indicações cênicas teriam na obra, o que o leva a subverter a importância das didascálias em relação ao conjunto de réplicas. Ao funcionarem como uma partitura que visaria abrir o texto para sua dimensão propriamente teatral, essas informações acabariam por deslocá-lo de sua pretensa centralidade. O objetivo deste artigo é refletir sobre o papel dessas rubricas no trabalho de tradução de Les Cenci, procurando entender em que medida elas permitiriam operar uma prática tradutória que levasse em consideração as especificidades da teatralidade já presente no próprio suporte escrito da peça.
Who were the giants of the twentieth-century stage, and exactly how did they influence modern theatre?
Robert Leach's Makers of Modern Theatre is the first detailed introduction to the work of the ...key theatre-makers who shaped the drama of the last century: Konstantin Stanislavsky, Vsevolod Meyerhold, Bertolt Brecht and Antonin Artaud.
Leach focuses on the major issues which relate to their dominance of theatre history:
What was significant in their life and times?
What is their main legacy?
What were their dramatic philosophies and practices?
How have their ideas been adapted since their deaths?
What are the current critical perspectives on their work?
Never before has so much essential information on the making of twentieth-century theatre been compiled in one brilliantly concise, beautifully illustrated book. This is a genuinely insightful volume by one of the foremost theatre historians of our age.
In his copy of the published text of
Artaud the Mômo
, Artaud added a note for a future edition that invokes 'a blank page to separate the text of the book, which is finished from all the swarming of ...Bardo which appeared in the limbo of electroshock'. What is at stake in this separation, this interruption, in the time of reading Artaud? What kind of testimony to the necropolitics of modernity might be offered by the interruption provided by this anticipated blank page? Artaud wanted his testimony to existence to interrupt the induced death to which he felt subject-to bear witness, on the one hand, to the living death (or Bardo) that society demands of those who claim not to suffer from 'alienation', and, on the other, to the 'authentic madmen' who are 'suicided by society'. The issue is not, of course, to write on or over the blank page, but to engage with what is written around it-reflecting on the
return
of Artaud the Mômo; a return understood to herald that transformation of the body that Artaud evokes after the 'ten years in which language left' him. His projected interruption in reading
the Mômo
text tries to turn back on society an awareness of relations between the living and the dead that it would prefer to ascribe to madness. Such relations remain of profound concern, however, as evidenced, for example, in Anne Boyer's recent discussion of what she identifies as the 'industrialised world's carcinogenosphere'.
The contemporary stage tends to focus on the way the body and the material are questioned in their symbiosis and dissimilation. In this article, I intent to study the articulation between the body ...and the scenic artifact, observing the techniques and methods of the actor's work. Nos anos 70, a técnica da marioneta passa a ser integrada no movimento da performance art, dando origem a uma nova designação, "o teatro de objetos". Nesta ancoragem em técnicas orientais como forma de estímulo criativo e de concentração, o ator do Meridional beneficia da colaboração com Pedro Rodrigues, mestre de Tai Ji Qui Gong: "As artes do Oriente devolvem um sentido global do corpo e eu, enquanto criador, pretendo trabalhar o corpo todo - emocional e intelectual - que sendo veiculado pelo corpo físico, transcende esse mesmo corpo físico" (MIGUEL SEABRA in MARTINS, 2008, p. 54).
Exploring questions of touch after COVID, this essay puts into dialogue Antonin Artaud and Adam Tooze (among others). The dynamics of care and contagion, the tangible and intangible, active and ...passive - as also reflection on the 'contactless' and 'untact' economies - are addressed in terms of Artaud's visionary writings concerning theatre and plague, madness and judgement. Being touched by these writings offers a way to think through the ambiguities of what is enduring in Artaud's conception of society, not least as the mandated language of 'social isolation' itself became viral during the pandemic. How is touch an index for what is infectious in thought? How are technologies of power already operative in the mutable senses of touch?
Antonin Artaud--Vector Diquattro, Marianne
Papers on language & literature,
01/2020, Letnik:
56, Številka:
1
Journal Article
Recenzirano
In a series of performance events that span Antonin Artaud's career, he locates the performing body as the physical vector of spiritual pathogens that can transform society for good or ill. Over two ...decades he refined a performance theory that self-consciously explores and performs text, body, and idea as plague: as instances of transmission, emission, and communication. Like the plague that inspired his 1933 event, The Theatre and the Plague, Artaud's performative and intellectual life burned itself up, yet lived on by multiplying its presence in a cadre of co-collaborators who continued his work and by leaving behind a posthumous publication record of incredible transnational influence. Yet, he returns to performance in his final years, as he once again tests the limits of what can be communicated by the performing body. His final production experiments with broadcasting the body through text and radio.
RESUMO: Este texto surge de um estudo do corpo por meio da interlocução entre Gilles Deleuze e Jacques-Lacan acerca do conceito de évènement. O intuito primordial é efetuar aproximações e ...distanciamentos entre o pensamento filosófico, no que se refere ao conceito de évènement e a clínica de Lacan, a partir de sua proposta do sintoma como um acontecimento de corpo. Essa conversação avançará através de uma revisão bibliográfica da noção deleuziana de corpo sem órgãos e da noção lacaniana de corpo-saco, com vistas a uma apreensão das principais acepções, a fim de cingir o que vem a ser um évènement.
Abstract: This text starts from a study of the body through the dialogue between Gilles Deleuze and Jacques-Lacan about the concept of évènement. The primary purpose is to make approximations and distances between philosophical thought, with regard to the concept of évènement and Lacan’s clinic, based on his proposal of the symptom as a body event. This conversation will advance through a bibliographic review of the Deleuzian notion of body without organs and the Lacanian notion of body-sac, with a view to apprehending the main meanings, in order to limit what comes to be an évènement.
The conceptual persona of the idiot recurs and evolves over the decades between Deleuze’s Difference and Repetition and his final book with Guattari, What is Philosophy?, shifting from a ...philosophical question to a nonphilosophical one that allies thought with literature and life. The great figure of this shock of literature is Antonin Artaud who, Deleuze argues, refinds thought’s creative capacity by putting it back in touch with its immanent outside – with a machinic and pre-personal ‘unthought’. This essay will argue that by turning to works from later in Artaud’s œuvre, especially the 1946 poem-cycle Artaud le Mômo, the problem of idiocy meets a correlative problem concerning life and death. Artaud establishes a four-fold of thought-unthought-life-unlife which is problematically resolved in what he calls a ‘body’, a figure which I will argue requires that we rethink the relationship Artaud experiences between idiocy and suffering.
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