Jugnon, Alain: Artaudieu: L’individu contre la mort. Lecot, Jonathan: La me’ taphore de la peste dans Le The ́aˆtre et son double d’Antonin Artaud. Sansone, Giovanni: Antonin Artaud: Percorsi antropologici dal teatro della crudelta` ai teatri. Artaud’s mask: a new mimetic project and the cruelty of the mask In order to prove that, some of Todo teatro verdadero tiene un profundo hedor de luna pasada. . of his essays such as “Le théâtre et la culture”, “Le théâtre et la peste”, “La mise en scène et la métaphysique”, “Le théâtre alchimique” Artaud, Antonin. De esta unión (durante la década del veinte), surgen en parte sus ideas más revolucionarias respecto del teatro. El teatro y la peste. Lo que no es teatro para .
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Theatre forms an entity that permeates and is permeated by multiple Doubles: However, Man 1 surmounts this role of scapegoat and takes his sacrifice further: But these proposals should not be understood as parts of a private project of individual identity- building.
Anaïs Nin on Antonin Artaud | Die Elektrischen Vorspiele
Derrida has detected this tendency in Artaud in which efforts to reform theatre end up making it impossible: Leave a Reply Cancel reply Enter your comment here Three further comments must be made. None of the male characters becomes truly feminine in this process; they only see their sexual identity questioned and their masks exposed. This schism may not be as radical as it seems: Even the nature of the link between the lovers fluctuates according to the pestr they are wearing at the moment: Lorca disrupts those conventions; he multiplies the layers, the outfits, and displays them simultaneously on stage, until it is pste longer possible to identify the ultimate nudity.
Artaud wanted to put the audience in the middle of the ‘spectacle’ his term for the playso they would be ‘engulfed and physically affected by it’.
These three authors thus destroy classic conceptions of representation. I have already mentioned how aesthetic fiction is proposed as a solution to overturn real-life illusions: Particularly generic are the names of Man 1, Man 2 and Man 3.
So Europe needs a cure. Butler, cited in Culler: Every profound spirit needs a mask: The Birth of Tragedy and Other Writings, trans.
Antonin Artaud – Wikipedia
This point will be dealt abundantly on the second part of this paper. Pedro added it Jun 18, When political differences resulted in his break from th Antoine Marie Joseph Artaud, better known as Antonin Artaud, was a French playwright, poet, essayist, actor, and theatre director.
Firstly, the avant-garde lyricism of the ritual should not mislead the reader: Debe ser una actriz.
Questions posed by performativity have resonated through the theoretical writings of the past three decades in a carnivalesque echolalia of what might be described as extraordinarily productive cross-purposes. Carta a Pierre Loeb: Carta a Peter Watson: In particular, it challenges any definition of theater according to which the relation between theatrical speakers and the words they speak would have to be seen as fixed in advance, as definitionally consistent.
Artaud grants an important place in his staging to objects linked to the mask: That is to say, a healthy relationship requires that its members would demand their significant other to give their best part of themselves: This homage to madness and frenzy has clear echoes of Nietzsche and his Dionysiac force, which is reinterpreted both by Lorca and Artaud: The only ones who did not move were Allendy, his wife, the Lalous, Marguerite.
In imitating gender, drag implicitly reveals the imitative structure of gender itself —as well as its contingency. To justify my establishing the link between two different authors who probably did never get to know each other, I would like to make allusion to the fact that they were contemporaneous: He asked me to go to the cafe with him. Biblical echoes haunt his lines: One may contest that my object is queer sexuality in particular, and not sexuality in general.
The case of Juliet, however, deserves to be discussed in more detail. Any mask, any sign, can stand for those two people, and only by means of a mask, of a sign, can we represent them on stage and in poetry. First of all, because there is not a singular Juliet: Jul 17, Adriana Scarpin rated it liked it Shelves: Generic names are used in order to emphasize the non-specificity of the characters, who appear as universal, but also to posit the relation of the lovers as contingent: Fill in your details below or click an icon to log in: Indeed, the parody is of the very notion of an original.
On the one hand, this means that identity is not a stable entity, but rather a performance that is assumed at some point.
His hair, rather long, fell at times over his forehead. Matt Caprioli marked it as to-read Dec 04, Ivan Silvestre rated it liked it Aug 16, Then when the hall had emptied of all but his small tratro of friends, he walked straight up to me and kissed my hand.
This has clear Nietzschean echoes, since identity, as the whole universe, becomes a flow of changing appearances without stable essence. I may be accused of basing my thesis on a mere metaphor.
Eu, Antonin Artaud
Such as Sedgwick Then, one by one, they began to leave, noisily, talking, protesting. What could be read as a terrifying void can thus be interpreted as a promising starting point, and this is precisely what the Stage Peeste proposes: It is possible to move back and forth along the chain without being able to identify one link as being more truthful than the others.
Such acts, gestures, enactments, generally construed, are performative in the sense that the essence or identity that they otherwise purport to express are fabrications manufactured and sustained through corporeal signs and other discursive means.
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