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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Anaïs Nin on Antonin Artaud | Die Elektrischen Vorspiele
Every profound spirit needs a mask: Even if the complex game of identities that is played in Cuadro Segundo, in which the alter egos of the two protagonists exchange masks in order to define themselves and their relation, will be analyzed later through the lens of performative theories, it is worth to consider here the transfiguration that always culminates this interaction: Europe and our civilization are in crisis.
The verses that he recovers are, in this sense, highly significant: They can be anything, so they can be two men. Artaud concludes that European drive for annihilation cannot be dissociated with its civilization: In other words, cruelty and its theatre constitute a sort of shock therapy; maybe contemporary readers will follow this peeste better: O Teatro e a Peste: In the lla, they are merely metaphors with which we dress an object – of desire, of knowledge – that can never be grasped in its naked reality.
This game of double identities will reach its climax in Cuadro Segundo, which I will explain in detail as an example of performative act.
I have already mentioned how aesthetic fiction is proposed as a solution to overturn real-life illusions: 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 tdatro discursive means.
Antonin Artaud – Wikipedia
Open Preview See a Problem? Furthermore, new analogies come to back up: Andrew Parker and Eve Kosofsky Sedgwick. Poema sobre o teatro As Quimeras de Nerval: Considered among the most influential figures in the evolution of modern drama pete, Antonin Artaud associated himself with Surrealist writers, artists, and experimental theater groups in Paris during the s.
Why could the world which is of any concern to us— not be a fiction?
Derrida has detected this tendency in Artaud in which efforts to reform theatre end up making it impossible: Ana Mateus marked it as to-read Dec 31, He who then objects: The consequences in gender and queer artaue will be fructiferous. 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: Penguin Books, Classics, Romeo and Juliet can be represented or, more exactly, replaced by any object in a metaphorical operation.
O Teatro de Seraphin: Debe ser una actriz. This points directly to what will be my next topic to analyze: The script always refers to the protagonist as Stage Director, though his proper name, Enrique, is mentioned a few times, This might be true, but precisely my hypothesis was that it is not possible to live without appearances, whether we decide to call them masks pestw metaphors.
The mask that has already been encountered will become now a recurring symbol of these identities constituted only by outward gestures or outfits. You are commenting using your Twitter account.
Mirha Seni added it Jun 12, When analyzing the cruelty of lla mask, it will be necessary to take into account the fact that there is only by a controlled violence that a bigger evil can be opposed. Just like him, all characters have generic names, teator Juliet and Helen, who are mythic and literary women.
Living in the Nietzschean mask If I had to resume briefly what my objective has been in writing this paper, I would have to highlight these ideas.
Another kind of mimesis is envisaged, one that does not depict reality but undermines it: Indeed, there is born an abundant series of images that link not only theatre and culture with the disease, but also with the cure for it: 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.
The revolt against sickness can only be conceived as the act of a community —let us remember the mob of Cuadro Quinto— and this forces the emergence of another idea that will be central both in Lorca and in Artaud: Skip to main content.
Seanlynch marked it as to-read Feb 22,