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Shaw, Jonathan Keith. "Subjectility : on reading Artaud." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/21004/.
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The notebooks in which Artaud constantly worked in the final years of his life (1946– 48) bring together writing, drawing and attacks on the very materiality of the paper. In bringing together these three regimes – visual, textual, material – the notebooks represent the culmination of Artaud’s complex ontology. They also continue to pose a unique set of problems for his readers. These three regimes come together on what Artaud calls the “subjectile”, yet as he uses this word only three times, approaching it asks that we traverse his entire oeuvre. Framing this thesis is the question of how reading Artaud, especially the notebooks, might engage we readers as ourselves subjectiles; how “reading” must be understood in an expanded sense to take in textual, drawn and material elements at once. Artaud’s writings have an unparalleled importance in continental philosophy of the “long twentieth century”: perhaps most inalienably in Deleuze & Guattari’s appropriation of the figure of the “Body without Organs”, and in Derrida’s careerspanning interest in Artaud’s writing and drawing. This thesis will forge critical responses to how these writers accommodate and appropriate Artaud into their systems. What is at stake in responding to their highly original literary-philosophical readings is not merely a philological pedantry concerning Artaud. Rather, I propose to both examine elements of these philosophies in order to scrutinise, appropriate and respond to the modes of reading Artaud which underlie their projects, and to trace how the themes which they identify are taken up within Artaud’s own oeuvre: to find both critical responses to and productive lines from their work. On the one hand, this concerns the aleatory formation of subjectivities in Deleuze and Guattari, through which they imbricate Artaud in a Spinozist project; on the other hand, Artaud’s own ideas on ontological anteriority and the methodology of case-studies runs against Derrida’s deconstruction. As such, rather than using Artaud to illustrate a philosopher’s ontology, I will engage with Artaud as a metaphysician and metontologist in his own right – one whose project is deeply embedded in materiality, thought and causation. Central to this proposition is close examination of Artaud’s articulation of the “subjectile” in relation to matter, in particular following his journeys to Mexico and Ireland, and his development of what I will call his lucid materialism.
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Hansalová, Hedvika. "Antonin Artaud a film." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78778.
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Práce se zabývá vztahem Antonina Artauda k celé oblasti filmu v jeho počátečním období, který nenašel naplnění. Neexistuje žádný dokončený a definitivní tvar ve smyslu filmového záznamu, o který by bylo možné se opřít. Charakter Artaudových vizí a výlučnost jeho myšlení znemožnili realizaci čehokoliv, o co usiloval. Je to práce o tom, co není...
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Bonnefoy, Brigitte. "Antonin Artaud : des contraires." Aix-Marseille 1, 1985. http://www.theses.fr/1985AIX1A007.
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Bonnefoy, Brigitte. "Antonin Artaud : des contraires." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375945054.
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Bauer, Renate. "Antonin Artaud - Alchemie der Materie." [S.l. : s.n.], 1998. http://www.diss.fu-berlin.de/2000/100/index.html.
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Almeida, Gil Roberto Gomes de. "Diferença voz glossolalia artaud performance." reponame:Repositório Institucional da UnB, 2015. http://dx.doi.org/10.26512/2015.04.D.20318.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, 2015.A partir da obra de Artaud, sobretudo do período de internação em Rodez (fevereiro de 1943 a maio de 1946) até a sua morte (março de 1948), evidencia-se um ideário que sugere princípios para uma vocalidade no contexto da performance. Esta vocalidade é baseada em uma noção de glossolalia enquanto conceito vinculado às práticas enunciativas, sobretudo como potência para desarrazoar estratos vocais. Assim, a glossolalia pode agregar valores sonoro-poéticos que desestabilizam aspectos mais estabelecidos da produção e percepção de sentidos relacionados à voz e, dessa forma, busca-se aqui uma discussão sobre possíveis fronteiras da produção vocal para a performance ao valorizar aspectos nômades em sua experimentação de forma a enriquecer a investigação do ator e do performer contemporâneo. A experimentação no contexto dessa pesquisa baseou-se num conjunto de práticas de improvisação que, embora não tenha se abdicado da palavra, sobretudo em sua criação imaginária que extrapola o contexto da língua, buscou priorizar o som e seus parâmetros vinculados a aspectos mais ruidosos, ininteligíveis e instáveis da produção vocal, apontando recursos para um aquém e um além da linguagem. Dessa forma, buscando uma ressonância de Artaud em Deleuze e Guattari, assim como em Derrida, um plano conceitual foi traçado como agenciador de processos de criação para a voz em performance. Demais, foi feito um recorte cartográfico da glossolalia nos contextos linguístico-psiquiátrico, religioso e artístico que também serviu de território histórico-conceitual. Dois exercícios estéticos, baseados em práticas glossolálicas, foram gravados e editados em arquivos de áudio e cartografados a partir de uma noção de parâmetros do som, possibilitando a discussão para uma poética do devir vocal em performance.
Hailing from the works of Artaud, especially during his stay at Rodez (February 1943 to May 1946) until his death (March 1948), it is evident a set of ideas that suggests principles for voicing in the context of performance. This vocality is based on a notion of glossolalia as a concept linked to enunciative practices, especially as a power to irrationalize vocal strata. Thus, glossolalia can add sound-poetic values that destabilize more established aspects of production and senses of perception related to voice and, thus, here we seek a discussion of possible boundaries in vocal production to performance by highlighting nomad aspects in its experimentation, in order to enrich an actor and contemporary performer's research. Experimentation in the context of this research was based on a set of improvisational practices which, although not having abdicated the word, especially in its imaginary creation that goes beyond the language context, sought to prioritize the sound and its parameters linked to noisier aspects, unintelligible and unstable voice production, pointing to a resource below and beyond language. This way, seeking an Artaud resonance in Deleuze and Guattari, as in Derrida, a conceptual plan was drafted as an agent of creation processes for vocal performance. Also, there is a cartographic clipping of glossolalia in linguistic-psychiatric, religious and artistic contexts that also served as a historical and conceptual territory. Two aesthetic exercises, based on glossolalic practices, were recorded and edited and mapped from a notion of sound parameters, allowing the discussion into the poetics of becoming in a vocal performance.
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Barber, Stephen Kenneth. "Artaud : the final work (1946-1948)." Thesis, Queen Mary, University of London, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420721.
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Although Antonin Artaud is one of the most renowned and inspirational figures in twentieth-century culture, the work of his last period (1946-1948) remains largely unknown. This is in part due to its relative inaccessibility. However, this vast and complex body of work has suffered from a certain critical marginalization. It emerged out of a period when Artaud was newly released from nine years of asylum incarceration. In addition, it is ferocious material, incessantly assaulting both social and linguistic structures. It resists representation and assimilation, screams its refusal of socialization, and it is based in a process of fragmentation. The research necessary for this thesis involved several years of archival investigation and documentation in Paris. On close examination, the last part of Artaud's work proves to be exceptionally vital and fertile, with its explorations into corporeal and linguistic systems. His previous preoccupations - such as with textual and gestural intentionality - are powerfully formulated and intensified (rather than concluded) by this final span of production. Especially important to this work is its generic richness, with an immense intercrossing of many disciplines. The power of the work stems largely from the collisions between its elements, notably that between text and image. Consequently, this thesis is arranged into examinations of Artaud's poetry, recordings, drawings, criticism, letters, and his gestural work around the body. Much attention is given to the interactions between these disciplines, and to the multiplicity of ways in which they work to articulate Artaud's thematic concerns. A diversity of analytical strategies is necessary to draw out these interactions. The argument of the thesis is that the least tangible aspect of Artaud's production, his gestural work around the body, is most crucial in projecting his overriding concern with physical immediacy, and in its role as an axis for the other genres of work.
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Cardoso, Ricardo Cezar. "Antonin Artaud: por uma metafísica cruel." Universidade do Estado do Rio de Janeiro, 2006. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4365.
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Em étudiant loeuvre de Gilles Deleuze, cest impossible dignorer linfluence dAntonin Artaud et de lidée de Cruauté dans le dèvelopement de sa philosophie. Ansi on peut se demander Quelle est limportance de Antonin Artaud et du Théâtre de la Cruauté dans la constituition de la Philosophie Contemporaine?. La présente dissertation nose pas répondre à cette question dans tute as complexité. Elle est plus modeste dans sa prétention, elle a comme but tracer quelques lignes capables de nous orienter dans nos relations complexes entre la pensée de Artaud et la Philosophie, entre le Théâtre de la Cruauté et le Théâtre Philosophique. Ainsi, nous partons de lidée dune Métaphisique de la Cruauté, comme elle nous est présenté par Camille Dumoulié, pour une Métaphisique Cruelle, une métaphisique qui est elle-même une experimentation. Penser la cruauté comme un théâtre métaphisique met en crise le Sisteme de la Representation: oeuvre de la pensée contemporaine. De cette façon, comprendre la Philosophie et lArt Contemporain, rendent Antonin Artaud une traverse obligatoire.Ao entrarmos em contato com a obra de Gilles Deleuze, não podemos ignorar a influência de Antonin Artaud e da idéia de Crueldade no desenvolvimento de sua filosofia. Assim, cabe a pergunta: Qual é a importância de Antonin Artaud e do Teatro da Crueldade na constituição da Filosofia Contemporânea? A presente dissertação não pretende responder esta pergunta em toda sua complexidade, a sua pretensão é mais modesta, ela visa traçar algumas linhas que possam nos orientar nas relações complexas entre o pensamento de Artaud e a Filosofia, entre o Teatro da Crueldade e o Teatro Filosófico. Assim, partimos da idéia de uma Metafísica da Crueldade, tal como nos é apresentada por Camille Dumoulié, para uma Metafísica Cruel, uma metafísica que já é ela mesma uma experimentação. Pensar a crueldade como um teatro metafísico põe em crise o Sistema da Representação: tarefa do pensamento contemporâneo. Dessa forma, compreender a Filosofia e a Arte Contemporâneas torna Antonin Artaud uma passagem obrigatória.
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Bradnock, Lucy. "After Artaud : Art in America, 1949-1965." Thesis, University of Essex, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510993.
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Freitas, Maisy de Medeiros. "Antonin Artaud: por uma cultura da crueldade." Universidade Federal do Rio Grande do Norte, 2010. http://repositorio.ufrn.br:8080/jspui/handle/123456789/13612.
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Cette recherche vise ? r?fl?chir sur la culture vers le point de vue de l'art. ? partir de la pens?e d'Antonin Artaud (1896-1948), qui nos invite ? penser la culture tel comme une ramification de la vie. Le th??tre, la sc?ne pour ses nombreuses cr?ations, il se d?place dans l'espace, une fois qu'Artaud vas essayer de vivre leurs exp?riences sc?niques a partir de son propre th??tre, le Th??tre de la Cruaut?, avec des actions vecue, en nient alors la repr?sentation. Ainsi Artaud a fait de votre existence une oeuvre d'art, il transporte ? sa propre vie l'esth?tique de la cruaut?, tel comme il l'a compris. Cette ?tude pr?sente le concept de la cruaut? artaudienne, l'attachant ? la culture, donnant lieu a ce qu'on appelle la Culture de la Cruaut?
A presente pesquisa objetiva refletir acerca da cultura pelo vi?s da arte. A partir do pensamento de Antonin Artaud (1896-1948), que nos convida a pensar a cultura como um desdobramento da vida. O teatro, palco para suas in?meras cria??es, desloca-se no espa?o, uma vez que Artaud ir? experimentar viver suas experi?ncias c?nicas a partir de seu pr?prio teatro, o Teatro da Crueldade, com a??es vividas, negando ent?o a representa??o. Dessa forma Artaud fez de sua exist?ncia uma obra de arte, transportando para a pr?pria vida a est?tica da crueldade, como a entendeu. Este estudo apresenta o conceito de crueldade artaudiano, atrelando-o ? cultura, o que deu origem ao que chamamos de Cultura da Crueldade
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Silveira, Lage André. "Antonin Artaud : le corps et le langage." Paris 8, 2004. http://www.theses.fr/2004PA082410.
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La question de départ de cette thèse est l’étude du rapport entre le corps et le langage. L’œuvre d'Artaud produit une pensée du corps indissociable d’une pensée du langage, l’une et l’autre s’inscrivant dans une perspective radicalement critique. A partir des premiers écrits poétiques d’Artaud, je tente d’interroger le rapport entre la naissance d’une œuvre et le discours sur sa défaite, montrant en quoi l’œuvre d’Artaud rend indissociable création et ratage. La terrible conscience que l’écriture d’Artaud témoigne de ce qui la menace nous conduit à la considérer comme le lieu particulier d’un combat où une expérience de pensée épouse une expérience radicale du langage. Et les problèmes que l’œuvre d’Artaud ne cesse de relancer d’un texte à l’autre s’organisent autour de quelque chose dont le nom, le statut et la place restent toujours improbables, sinon toujours à venir. Dans un deuxième temps, j’oriente mon analyse vers les écrits d’Artaud consacrés au théâtre, en partant de l’idée que sa poétique du théâtre dépasse une théorie du théâtre, ouvrant le champ d’une réflexion sur le langage et sur l’art en général. Les notions d’intonation, de scansion, en travail dans sa poétique du théâtre, me semblent fondamentales pour comprendre l’articulation du corps au langage, mais aussi pour appréhender l’ensemble de sa pratique de l’écriture. Dans un troisième temps, j’interroge l’œuvre d’Artaud en tant que réflexion sur le statut du corps et son identité. Le corps de l’homme est le terrain et l’enjeu de l’œuvre d’Artaud : le corps de la langue autant que le corps anatomique est à refaire. Il y a un combat déclaré chez Artaud. A l’intérieur du langage. Et cet état de guerre constitue les conditions et les moyens du langage qui devient un langage-force, un langage-coup, un langage-cri, un langage qui, traversant et débordant les mots, manifeste l’aventure d’une vie par l’écriture, l’aventure rythmique d’un sujet dans sa quête effrénée d’un langage qui lui est propre.
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Dumoulié, Camille. "Nietzsche et artaud, penseurs de la cruaute." Paris 4, 1989. http://www.theses.fr/1989PA040040.
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A travers une serie de metaphores (volonte de puissance, cruaute), nietzsche et artaud pensent la vie comme l'expression d'une puissance cruelle s'exercant au-dela du bien et du mal, mais dont l'histoire et la culture provoquerent la perversion. Apres avoir tente d'en retrouver la purete grace au theatre et selon des voies metaphysiques, ils s'engagent dans une destruction des idoles (le monde, le moi, le corps propre), fruits d'un theatre de la cruaute retourne contre l'homme - artaud de maniere plus violente et nihiliste que nietzsche. Des lors, la volonte de cruaute s'affirme comme une volonte ethique de reel qui suppose une nouvelle evaluation des notions de bonheur, de plaisir et de douleur, et qui, dans son exigence, les entraine (chacun selon un mode qui leur fut propre) vers les limites du sacre et le risque de la folie. Contraints d'agir au sein meme de la clo- ture de la representation et du langage, ils ont invente des stra- tegies (l'ironie pour l'un, l'humour pour l'autre) dont le champ d'efficacite reside d'abord dans la scene de l'ecriture, nouveau theatre de la cruaute (qui, pour l'un et l'autre, se fait a la fois dans et contre la metaphore, les signes et le style, mais selon deux economies souvent divergentes), theatre a partir duquel vivre la cruaute du reel et s'ouvrir a l'epreuve de l'infiniThrough series of metaphors (will to power, cruelty), nietzsche and artaud present life as the expression of a cruel force beyond good and evil, but which has been perverted by history and culture. After having tried to rediscover its purity thanks to theatre and following the ways of metaphysics, they undertook a destruction of the idols (the world, the self, the proper body) which sustain a theatre of cruelty turned against men - artaud in a more violent and nihilist way than nietzsche. The will of cruelty then appears as an ethical will of real which implies a new evaluation of the notions of luck, pleasure and pain, and which, by its exigence, drives them to the limits of the sacred and to the risk of madness. Forced to act into the enclosure of representation and language, they have invented strategies (irony for the first one, humour for the second) which field of efficacy lies in the scene of writing - new theatre of cruelty (which, for both, is performed in andagainst metaphor, signs and style, but according to two different economies often opposed), -theatre from which the cruelty of the real and the proof of the infinite can be experimented
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Belhaj, Laïla. "Antonin Artaud et la notion de sacré." Paris 1, 1995. http://www.theses.fr/1995PA010587.
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L'unité de l'homme est à la source de cette quête permanente de l'auteur, qui entreprit de longues recherches sur les cultes, les civilisations, les rites, les mythes. Autant de lexèmes appartenant au registre du sacré. Notre recherche aura comme l'un des axes principaux, cet attrait d'Antonin Artaud pour ces bases vivantes de culture, dont la notion semble d'après lui s'effriter en occident. Chez Artaud il y a une connaissance approfondie des textes traitant du sacré, de la métaphysique, de l'ésotérisme, on est alors loin d'une attitude fétichiste ou apologétique. Toute l'originalité de notre travail sera basée sur cet attrait pluridisciplinaire et intercivilisationnel qu'Artaud lui-même chérissait, tout comme le théâtre qu'il préconisait tend à faire la somme de tous les moyens d'expression : peinture, poésie, danse, transe. Sur son sillage nous essaierons de cerner le problème de la dynamique du sacré dans toute sa possibilité d'agir sur l'évènement mimétique, et spectaculaire, en dehors aussi d'une destination directe religieuse. Il faudra chercher aussi à comprendre pourquoi notre recherche nous induit à définir comme sacrés des phénomènes qui nous attirent par leur convergence dynamique. Trois thèmes unissent la dramaturgie d’Artaud à sa métaphysique: la vocation sacrée du théâtre, le retour aux origines, la mise en scène comme langage constitutif du théâtre. Le théâtre est un art sacre par essence, s'il a cessé de l'être en occident, il faut le resacraliser : toutes les idées cosmogoniques liées au chaos, au devenir, à la création, qui sont toutes d'ordre cosmique telles qu'elles existent dans les vieux fonds métaphysique de certaines civilisationsMan's unity is the source of the theme of this author who did the long research on the cults. Civilisations; the ceremonies and the myths. So many lexemes belong to the sacred. This research will have that interest of Antonin Artaud as one of the main themes based on the vital culture of which the concept seems to disappear in the west. Antonin Artaud has profond knoledge of the texts on sacred, the metaphysics and the esoterism. Nevertheless, his attitude is far from being fetichist or apologist. Originality of this research will be based on this interdisciplinary and intercivilizational theme ich Artaud himself cherished, like the theater that he praised makes the totality of the modes of expression: painting, poem, dance and transe. In his traces, we will try to definne the problem of the dynamics of sacred that can react to the mimetic and spectacular events without religious purpose. Also we have to find out why we arrive at the definition of the phenomenon which leads us by dynamic convergence as sacred. This time unite the dramaturgy of Artaud to his metaphysics : the sacred vocation to the theater, the return to origin, the direction as a constructive language. The theater is the sacred out in essence and if it stopped to be sacred in the west. It should make it sacred again. All the ideas of cosmogoniy related to the chaos, the becoming, the creation are the cosmis orders such that these exist in the old background of metaphysics of certain civilisations which have this "cosmic cruelty "and" magic action" of the life. The study of the streams of the civilisation from which the modern world came
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Arai, Kiyoshi. "Le problème de l'expression chez Antonin Artaud." Paris 4, 2003. http://www.theses.fr/2002PA040177.
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Partant des ruines de la détermination de l'expression comme extériorisation d'une " substance intérieure ", Artaud cherche toute sa vie une nouvelle idée de l'expression, ainsi qu'un nouveau moyen d'expression. Nous retraçons d'abord le processus suivant lequel il élabore sa poétique du rêve en construisant la métaphysique de l'expression. Or, à partir de 1937, à mesure que sa crise d'identité s'aggrave, sa valorisation du rêve cède la place à celle du délire. Dans la deuxième partie, nous examinons la poétique du délire d'Artaud qui consiste en une production de sa propre " réalité " et en ce " travail de corporisation " dans lequel, d'après lui, le corps imperceptible émet des corps matériels pour se manifester. Cette conception de l'expression dirige Artaud vers une " autre façon d'écrire " fondée sur l'impuissance du langage et sur la polysémie incontrôlable des signifiants, et se réalisera dans ce langage glossolalique apprenant aux mots " une manière de nouveau comportement "After experiencing the collapse of the traditional concept of expression as the exteriorisation of the "internal substance", Artaud searches all his life for a new idea and a new way of expression. The first part of this dissertation traces the process in which he elaborates the poetics of dream from 1923 to 1936 by constructing the metaphysics of expression. But from 1937 on, as the crisis of his identity deepens, his focus shifts from the valuation of dream to that of delirium. The second part examines the poetics of delirium developed in his last years; it produces his own "reality" and describes "corporealisation", the process in which an imperceptible body emits material bodies to manifest itself. This concept of expression conducts Artaud to the "other way of writing" based on the powerlessness of language and on the uncontrollable polysemy of the signifiants. This idea is realised in his "glossolalia", a language in which words attain "a manner of new behaviour"
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Dubreuil, Laurent. "Lectures de la possession : Maupassant, Artaud, Blanchot." Bordeaux 3, 2001. http://www.theses.fr/2001BOR30056.
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Nous étudions la notion de possession dans la littérature française, de la fin du dix-neuvième siècle au dernier aprés-guerre, telle qu'elle apparaît dans les oeuvres de Guy de Maupassant, Antonin Artaud et Maurice Blanchot. Légataire des discours religieux, compagne des grands boulversements philosophiques, en butte avec l'interprétation médicale, la hantise endosse un rôle nouveau dans la construction poétique de l'écriture et de la lecture. Lire les textes de la possession que nous avons choisis demande donc qu'on revienne aussi sur son propre processus de lecture critique. A condition, du moins, que, dans une empathie avec l'oeuvre, on s'essaie à en retracer véritablement la pensée, même et surtout quand elle abandonne les logiques de la rationalitéRésumé :The author explores the notion of possession in French literature from the end of the nineteenth century until the aftermath of the second World War, in the works of Guy de Maupassant, Antonin Artaud and Maurice Blanchot. A companion to philosophical upheavals, heir to religious discourses, and itself at odds with the conclusions of clinical diagnosis, "hantise" takes up a new role in the poetic making of writing and reading. Reading possession in the chosen body of texts involves checking one's own process of critical reading-provided empathy with any work induces one to try to map out its conception, even if and especially when the paths of rationality are abandoned
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Delloye, Bernadette Zrim Mme. "Antonin Artaud, les psychiatres et l'institution psychiatrique." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375952522.
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Oliveira, Thiago Ranniery Moreira de. "Currículo-teatro: uma cartografia com Antonin Artaud." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/BUOS-966JYU.
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A curriculum is a cultural artifact which puts the life of many of us at stake, and in which the space of territorialization and deterritorialization are at issue. Although images of thought and watchwords such as hierarchization, discipline, judgment, classification, evaluation, and regulation weight over a curriculum, the potency of a life is also at stake in the spaces and times of a curriculum. What can, therefore, a curriculum do? Which power can be brokered and machined to create a spark of light in a life and make it embark in a line of flight? Could we add, find, and conjugate other elements and images stolen from elsewhere to mobilize, surprise and move the thought images given to a curriculum? What can we add to a curriculum? And if we added a curriculum to Antonin Artaud and the Theater of Cruelty? Thus, what can a curriculum
+ Artaud + the Theater? This dissertation begins from this concern in orderto reach a curriculum with Antonin Artaud and the Theater, andto compose a theater-curriculum. For this matter, it utilizes inspirations taken from Gilles Deleuzes philosophy of the Difference, and from an schizoanalytic mapping of Antonin Artauds works. The argument here is that there are overlappingpotentialities and virtualities in the composition of the theater-curriculum, when its machining is established from the
writings of Antonin Artaud, and with the implications of his thoughts on theater. In a fabling exercise, this dissertation makes use of a conceptual character, Ery, a nomadic traveler, who, through letters, follows me and helps me in plots, shock of ideas, and formulations here established, in order to try to expose virtualizations and updates that Antonin Artaud and the Theater of Cruelty can provide to a curriculum. For a composition between the curriculum and the theater,we follow Ery in the mapping of
lines and thought images of the relationship between curriculum and theater, and in his submersion in the impetuous writings of Antonin Artaud, in order to find the powers and becomings that surround the Theater of Cruelty to a curriculum-theater. The very cruelty leaves aside the theological and moral judgment, and gains an ethical statute in a
curriculum, involved not only with the fabrication of life forms, but also with the virtualization of existence: some points to think about the possibility of the ethics of the curriculum cruelty. Forms materialize other thought images of the body of a curriculum and of the bodies that a curriculum shapes, so thatfrom this movement, the remains and
the traces of a body curriculum can be perceived. A theater-curriculum that maddens the subjective life forms that machines, so they can open and keep connected with the forces of the world thatmadden a curriculum. The theater ceases, finally, to refer to an aesthetic form or a subject of knowledge embedded in curriculums, to become the
movement of forces of thought and the tensioning ofrelationships of forces that a curriculum supports. Here is the actual machining of a theater-curriculum: theatrum curriculum. What a theater-curriculum wants is to only make an exercise of magical metamorphosis and poetics in a curriculum through things and words, images and the
world, life and being.Um currículo é um artefato cultural em que está em jogo e que põe em jogo a vida de muitos de nós, um espaço de territorializações e desterritorializações. Ainda que sobre um currículo pese imagens de pensamento e palavras de ordem como hierarquização, disciplinamento, julgamento, classificação, avaliação, regulação, a potência de uma vida também está em jogo nos espaços e nos tempos de um currículo. O que pode, então, um currículo? Que potência pode ser agenciada e maquinada em currículo para criar em uma vida uma centelha de luz e fazê-la embarcar em uma linha de fuga? Podemos somar, fazer encontrar, conjungar outros elementos e imagens roubados de alhures para mobilizar, fazer estranhar e movimentar as imagens de pensamento dadas a um currículo? O que podemos somar a um currículo? E sesomássemos um currículo com Antonin Artaud e o Teatro da Crueldade? O que pode, então, um currículo + Artaud + Teatro? Esta dissertação parte dessa inquietação para se chegar a um currículo com Antonin Artaud e o Teatro e para compor um currículo-teatro. Utiliza, para isso, inspirações retiradas da filosofia da Diferença de Gilles Deleuze e de uma cartografia esquizoanalítica dos escritos de Antonin Artaud. O argumento, aqui, desenvolvido é de que existem potencialidades e virtualidades imbricadas na composição currículo-teatro, quando sua maquinação é instaurada a partirdos escritos de Antonin Artaud e com as implicações do seu pensamento teatral. Em seu exercício de fabulação, essa dissertação lança mão de um personagem conceitual, Ery, um viajante nômade, que por meio de cartas, me acompanha e me auxilia nas tramas, embates, formulações aqui travados para experimentar expor virtualizações e atualizações que Antonin Artaud e o Teatro da Crueldade podem proporcionar a um currículo. Para uma composição entre currículo e teatro, seguimos Ery no mapeamento das linhas e imagens de pensamento da relação entre currículo e teatro e no seu lançamento no meio da escrita vertiginosa de Antonin Artaud a fim de encontrar as potências e devires que rondam o Teatro da Crueldade para um currículo-teatro. A própria crueldade deixa de lado o julgamento moral-teológico e ganha um estatuto ético em um currículo, envolvida tanto com a fabricação de formas de vida e com a virtualização da existência. Eis algumas indicações para se pensar a possibilidade de uma ética da crueldade curricular. Formas que materializam outras imagens de pensamento do corpo de um currículo e dos corpos que um currículo maquina e nesse movimento dá a ver os restos e os rastros de um corpo curricular. Currículo-teatro que enlouquece as formas subjetivas de vida que um currículo maquina para que possam abrir-se e manter-se conectadas com as forças do mundo e que faz enlouquecer um currículo. O teatro deixa, por fim, de se referir a uma forma estética ou a uma disciplina do conhecimento inserida nos currículos para torna-se o movimento das forças do pensamento e o tensionamento das relações de forças que um currículo sustenta. Eis a própria maquinação de um currículo-teatro: theatrum curriculum. O que um currículo-teatro quer é apenas fazer dascoisas e das palavras, das imagens e do mundo, da vida e do ser um exercício de metamorfose mágica e poética em um currículo.
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Bighin, Giulia <1990>. "La conception de l'art chez Antonin Artaud." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/7800.
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La tesi magistrale tratta l’opera di Antonin Artaud, scrittore francese del ventesimo secolo. Attraverso una lettura approfondita di un corpus scelto di testi (che costituiscono l’opera completa dell’autore) riguardanti l’arte in generale ma anche la pittura e il teatro, lo scopo dell’analisi è quello di delineare un percorso di scoperta dell’originalità dello scrittore.
Il primo capitolo riporta il nucleo centrale della ricerca di Artaud, cioè la ricerca di sé (che ha come domanda guida: “qu’est-ce que moi-même”?).
Il secondo capitolo propone un approfondimento sulla partecipazione di Artaud al gruppo dell'avanguardia surrealista e sulle cause che lo hanno poi spinto ad abbandonarlo.
Il terzo e ultimo capitolo tratta la questione della rappresentazione utilizzando prevalentemente il paragone che Artaud stesso fa tra la sé e la figura di Van Gogh.
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Corbyn, Nicholas Stephen. "Antonin Artaud and the aesthetics of self-presence." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343398.
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Bouillon, Anne. "Gilles Deleuze et Antonin Artaud : L'impossibilité de penser." Thesis, Poitiers, 2013. http://www.theses.fr/2013POIT5005.
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Au sein de la pensée de Deleuze, la poésie d'Antonin Artaud apparaît comme la ligne de fuite par excellence à partir de laquelle tout le foisonnement conceptuel deleuzien s'articule. Artaud est en effet celui qui brise l'image de la pensée – ou ce que nous voulons dire habituellement par " penser " en philosophie – en refusant son innéité et son universalité, c'est-à-dire la cogitatio natura universalis. Car pour Artaud comme pour Deleuze, le plus souvent, la pensée s'affronte à son problème véritable, qui est son impouvoir ou son impossibilité. Ainsi, la première partie de la thèse s'attaque à la compréhension de la destitution de l'image de la pensée dans Différence et répétition de Deleuze, à partir de l'idée de " génital inné " d'Artaud dans la Correspondance avec Jacques Rivière. Si l'image de la pensée ne dit rien du processus de penser, de quelle logique sommes-nous capables ? Au travers de la découverte de la logique paradoxale déployée dans les paradoxes de Logique du sens de Deleuze, il s'agira de penser le rapprochement entre Artaud et Nietzsche. L'axe principal de cette partie est la critique du jugement menée par Artaud. Enfin, jeté dans les paradoxes de la vie, la troisième partie envisage le grand impensé de la philosophie qu'est le corps : en effet, de quel corps sommes-nous capables ? L'enjeu, de l'impossibilité de penser à la question du corps - rapprochant L'Ethique de Spinoza du corps sans organes d'Artaud - est bien de renouer la pensée avec la vie, selon le projet du Gai savoir de Nietzsche et qu'Artaud ne cesse de reformuler dès ses premiers écrits. L'impossibilité de penser dit non seulement la séparation d'avec la vie, mais aussi l'impensable qu'est le corps : en effet, que dire de notre propre corps, tel que nous le vivons ? Dans quelle mesure la création de concepts en rhizome dans Mille Plateaux de Deleuze et Guattari explore-t-elle le corps sans organes d'Artaud, ce corps vécu qui reste encore mystérieux pour la pensée ? Artaud souhaitait qu'on l'aime non pas pour son œuvre mais pour sa vie, témoignant d'une grande santé contre un monde malade : l'horizon de l'impossibilité de penser est alors la pensée blessée et profonde assumant la vie elle-même dans toute son opacitéIn the thought of Deleuze, the poetry of Antonin Artaud seems like the line of convergence par excellence from which all the Deleuzian proliferation of concepts are developed. Indeed, Artaud is the person who shatters the image of thought – or what we usually mean by " thinking " in philosophy – rejecting its innateness and universality, in other words, the cogitatio natura universalis. Because, for both Artaud and Deleuze, thought is most often confronted by its real problem – its powerlessness or its impossibility. So the first part of the thesis deals with understanding the dismissal of the image of thought in Deleuze's Difference and Repetition, from Artaud's notion of " génital inné " [innate sexuality] in the Correspondence with Jacques Rivière. If the image of thought says nothing about the process of thinking, of what logic are we capable ? Through the discovery of the paradoxical logic deployed in the paradoxes in Deleuze's Logic of Sense, it is a matter of thinking about the connection between Artaud and Nietzsche. The main thrust of this section is a critique of the judgement made by Artaud. Lastly, thrown into the paradoxes of life, the third part considers the great non thought of philosophy, that is the body : indeed, of what body are we capable ? The challenge, the impossibility of thinking about the question of the body - comparing Spinoza's Ethics and Artaud's body without organs - is to reconnect thought with life, in accordance with the intention of Neitzsche's Gai saber [The Gay Science] and that Artaud did not cease to revise from his earliest writings. The impossibility of thought implies not only a separation from life, but also the unthinkable that is the body: indeed, does this mean talk of our own body as we experience it ? To what extent does the creation of a rhizome of concepts in A Thousand Plateaux by Deleuze and Guattari explore Artaud's body without organs, the body experienced that still remains mysterious for thought ? Artaud hoped that he would be loved not for his work, but for his life, testifying to a great health against a sick world: the prospect of the impossibility of thinking is then thought wounded and profound, taking on a life of its own in all its opacity
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Cabral, Judson Forlan Gonzaga. "Antonin Artaud: a vida e sua dimensão política." Pontifícia Universidade Católica de São Paulo, 2015. http://tede2.pucsp.br/handle/handle/2537.
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Antonin Artaud was a french artist that lived on 20th century. With his theater and lifestyle, he shattered several moral institutions and rules that guided life. Made his life and art a combat. For this same reason, was subject of several reprimands. Artaud, man of theater stage, worked as a film actor, playwright, costume designer, scenographist, illustrator, art critic, an active man among his peers. Begun threading the path of historical avant-garde, and his ideals, especially those connected to surrealism, were aimed at revive theatrical art so it could be used as the place of action on life. Theater as practice of itself. Artaud s works were crucial so he could draw a life that was beyond or earlier of a certain life perspective consonant with its standardizing mechanisms. Beyond Artaud and his theater, this research focus on Nietzsche and Foucault, addressing some concepts dear to those authors. The life of those three were lives that to a certain extent drawn over existence other ways to be part of it. They established an aesthetic of existence from designing their lives as art pieces. Therefore, the research focuses on life and its political dimension seen through quality of life and its experiments. In this sense, draws the authors thoughts for different kinds of political actions
Antonin Artaud foi um artista francês que viveu no século XX. Ele com seu teatro e estilo de vida abalou os diversos programas morais e instituições pelas quais a vida era balizada. Fez de sua vida e arte um combate. Por isso mesmo sofreu diversos tipos de correções. Artaud, homem de teatro, trabalhou como ator de cinema, foi dramaturgo, figurinista, cenógrafo, desenhista, crítico de arte, foi um ativo entre seus contemporâneos. Trilhando inicialmente a esteira das vanguardas históricas e de seus ideais, especialmente o dos surrealistas tinhacomo projeto revivificar a arte teatral para que a mesma fosse usada como o lugar de ação sobre a vida. O teatro como prática de si. A obra de Artaud foi fundamental para que ele pudesse traçar uma vida que se colocava além ou aquém de certa perspectiva de vida vigente com seus mecanismos normalizadores. Além de Artaud e seu teatro a pesquisa enfatiza Nietzsche e Foucault com alguns conceitos caros a esses autores. A vida dos três foram vidas que de certa forma traçaram sobre a existência maneiras outras de estar nela. Instituíram uma estética da existência àmedida que fizeram das suas vidas uma obra de arte. Portanto, a pesquisa enfatiza a vida e sua dimensão política entendida aqui na qualidade de uma vida no e pelos seus experimentos. Para tanto, busca pensar à luz dos autores outros tipos possíveis de politização
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Azevedo, Gerl?zia de Oliveira. "Antonin artaud: a crueldade pelos desenhos e autorretratos." Universidade Federal do Rio Grande do Norte, 2014. http://repositorio.ufrn.br:8080/jspui/handle/123456789/13832.
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Previous issue date: 2014-05-30Antonin Artaud, a name that reminds us of areas ranging from theater to poetry, linguistics to psychoanalysis, is a multipurpose name that transits as poet, painter, writer, actor, screenwriter, playwright and theater director. Artaud s route is raw material for researchers of various hues interested in a life and work that allows panning in different fields of knowledge. It raises the question of language and manipulation of signals in terms of magical forces and the relationship maintained through them with the cosmos and the divine. Artaud searches through a language of signals, gestures and objects that express themselves by objective forms and the use of words as solid objects. For him, the language of words must give way to the language of signals, whose objective aspect is what strikes us most immediately. Our work indicates the possibility of realization and recognition of the aesthetic of cruelty present in the writing drawings of artaudian s work, realizing thus, that art as a record of culture hence as double of life allows us a more critical and transforming look to the society, thinking about the aesthetics of cruelty as Artaud proposes and thinks cruelty: as appetite for life. Our dialogue held during the construction of this journey has the company, besides the one of Antonin Artaud, other authors such as Jacques Derrida, Gilles Deleuze and Felix Guatarri, among others which, during the hike and framing of this route help us to think about the aesthetics of cruelty in an Artaudian perspective
Antonin Artaud, nome que nos remete a ?reas que v?o do teatro ? poesia, da lingu?stica ? psican?lise, ? um nome polivalente que transita nas atividades de poeta, pintor, escritor, ator, roteirista, dramaturgo e diretor teatral. A trajet?ria de Artaud ? mat?ria-prima para pesquisadores dos mais variados matizes, interessados numa vida e numa obra que possibilitam garimpar em v?rias ?reas do conhecimento. Ele coloca a quest?o da linguagem e da manipula??o de signos em termos de for?as m?gicas e da rela??o mantida, atrav?s deles, com o cosmos e com o divino. Artaud busca uma linguagem atrav?s dos signos, de gestos e objetos que se expressam pelas formas objetivas e pelo uso das palavras como objetos s?lidos. Para ele, a linguagem das palavras deve dar lugar ? linguagem por signos, cujo aspecto objetivo ? o que mais nos atinge de imediato. Nosso trabalho aponta a possibilidade da percep??o e do reconhecimento da est?tica da crueldade nos desenhos escritos presentes na obra artaudiana, percebendo, assim, que a Arte como registro da cultura portanto, como duplo da vida , nos possibilita um olhar para a sociedade mais critico e transformador, pensando a est?tica da crueldade como Artaud prop?e e pensa a crueldade: como apetite de vida. Nosso di?logo mantido durante a constru??o dessa caminhada tem a companhia, al?m de Antonin Artaud, de autores como Jacques Derrida, Gilles Deleuze e F?lix Guatarri, dentre outros que, no decorrer da caminhada e constru??o desse percurso nos ajudam a pensar a est?tica da crueldade numa perspectiva artaudiana
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Fran?a, Fagner Torres de. "Para um cinema da crueldade em Antonin Artaud." Universidade Federal do Rio Grande do Norte, 2016. http://repositorio.ufrn.br/handle/123456789/21150.
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Antonin Artaud (1896-1948) publicou mais de duas mil p?ginas apenas pela editora Gallimard. Sessenta e oito anos ap?s a sua morte seus escritos continuam sendo lan?ados. Artaud escrevia compulsivamente sobre diversos assuntos, lan?ando pseud?podes em tantas dire??es quantos eram seus interesses, alguns dos quais se ramificavam e se desenvolviam, enquanto outros adormeciam esperando desdobramentos que, por vezes, vinham ou n?o. Teatro, cinema, poesia, literatura, filosofia, hist?ria, pintura e desenho eram alguns dos seus temas de reflex?o. A incurs?o pela chamada s?tima arte, por exemplo, foi um dos projetos interrompidos pelo franc?s de Marselha. Deixou poucos - mas profundos - textos sobre o assunto, variando entre o encantamento e o des?nimo. Atuou em vinte e dois filmes e deixou sete roteiros, dos quais apenas um foi filmado. Relativamente curta (1923-1935), mas consistente, a carreira de Artaud pelo cinema ? ainda pouco analisada, sendo mais conhecidas suas propostas para o teatro, principalmente a no??o de Teatro da Crueldade. ? a partir dela que responderemos a algumas quest?es: Artaud elaborou uma no??o de crueldade para al?m do teatro? ? poss?vel pensar a cultura da crueldade para o cinema? Podemos refletir sobre o sujeito contempor?neo a partir dessa abertura? A ideia de crueldade pensada pela chave do cinema prop?e estabelecer uma nova rela??o do sujeito contempor?neo com a imagem, o corpo e o pensamento, no sentido de abrir um outro canal de di?logo com a cultura e resgatar a pot?ncia inexplorada da arte como meio de se posicionar frente ao mundo e aos desafios que ele diariamente nos coloca.
Antonin Artaud (1896-1948) est un po?te, acteur, dramaturge et ?crivain fran?ais n? ? Marseille, mais dont la vie artistique se d?veloppe principalement ? Paris. Artaud est l'auteur de la notion bien connue de Th??tre de cruaut?, qui inspire encore aujourd'hui de nombreux groupes de th??tre dans diff?rents coins du monde. Il a ?crit sur le th??tre, la po?sie, l'art, la philosophie, entre autres. De 1924-1935 est ?galement d?di? au cin?ma, ? la fois dans son th?orique et pratique. Une ?tape un peu inconnu et peu explor? dans sa vie. Elle a jou? dans 22 films avec certains des r?alisateurs les plus importants dans le monde, et a laiss? huit sc?narios, dont un seul a ?t? realiz?, et huit ?crits th?oriques sur le cin?ma. Cette th?se cherche ? examiner pr?cis?ment cette p?riode insuffisamment ?tudi? dans sa carri?re, ? partir de trois questions initiales: Artaud d?velopp? un sens de la cruaut? au-del? du th??tre? Nous pouvons penser ? la culture de la cruaut? envers les films, en d?autres termes, un cin?ma de la cruaut? ? Nous pouvons penser sur le sujet contemporain de cette culture? La r?ponse ? ces trois questions est oui. L'id?e de la pens?e de la cruaut? au cin?ma est intervenue concomitamment ? leurs exp?riences et ?laborations de ce qu'il a appel? Th??tre de la cruaut?. Les deux r?flexions sont donn?s concomitamment et de mani?re r?cursive. Plus que cela, toutes ses productions artistiques, dont la po?sie et la peinture, ont ?t? travers?s par la notion de cruaut?. Nous concluons que leurs ?laborations sur un cin?ma de la cruaut? a et? interrompu au moment m?me que le d?veloppement technique a soulign? la possibilit? de sa r?alisation. De plus, ? l'enqu?te de son travail, nous pouvons voir que presque toute sa pens?e a ?t? pr?par? sous les images, de sorte que nous pouvons m?me parler d'une pens?e cin?matographique d?Antonin Artaud. En cons?quence, nous ne concevons pas sa th?orie au septi?me art comme secondaire ? leurs int?r?ts, comme le rapporte la plupart de ses commentateurs, mais absolument essentiel dans le d?veloppement de ses ?crits, qui jusqu'? maintenant accumul? plus de deux mille pages. En outre, Artaud ne pense pas l'art pour l'art, mais seulement comme un dialogue fructueux et intensif avec l'homme et la culture. L?art ?tait l'instrument privil?gi? de proposer un diagnostic et une nouvelle fa?on de voir la soci?t? contemporaine. ? travers le film il a imagin? la possibilit? d'une reprise de forces ?thico-esth?tique-politiques perdus sous les d?combres de la civilisation occidentale. L'?tablissement d'une nouvelle relation avec l'image, le sujet de la (post-) modernit? pourrait sauver une puissance esth?tique du corps et de la pens?e que, r?interpr?t?, agiraient envers eux-m?mes et le monde ? r?inventer.
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Duménil, Lorraine. "L'agir poétique chez Antonin Artaud et Henri Michaux." Paris 7, 2011. http://www.theses.fr/2011PA070098.
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A quelles conditions la poésie peut-elle constituer une disposition de l'action humaine ? Mus par une commune nécessité de remédier au malaise existentiel qui les étreint, Antonin Artaud et Henri Michaux attribuent à leur entreprise poétique une finalité proprement vitale : « guérir la vie », lutter contre ce qui les oppresse, changer de corps et d'esprit. Or un tel impératif engage une redéfinition radicale de la Poésie. Le geste d'Artaud et de Michaux a la particularité d'opérer sur un plan bien plus large que celui de l'écriture, dans la perspective d'un « champ élargi » de la Poésie qui investit une multiplicité de dispositifs : poèmes mais aussi dessins, peintures, pratiques performatives inspirées du théâtre, de la danse ou de la musique. Pour « guérir la vie », ce continuum artistique opère sous la forme d'une production inlassablement reconduite d'exorcismes, dans le même temps qu'il ouvre l'espace d'une construction de soi qui engage une ontologie de l'altération. Attentive à la performativité des différentes configurations artistiques, la présente étude fera de l'expérience poétique - entendue comme une pratique incarnée - le cœur de sa réflexion. Or, s'il est vrai qu'une expérience n'engage a priori que celui qui en est le sujet, elle ne trouvera toutefois à se réaliser pleinement que dans la mesure où elle sera reprise et traversée par d'autres, c'est-à-dire reçue et reconduite par un public : l'agir poétique est un espace d'action partagéUnder which conditions can Poetry constitute a provision of the human action? Driven by a shared need to heal the existential ailment which seized them, Antonin Artaud and Henri Michaux allot to their poetic endeavor a vital purpose. This purpose — "to cure life" - means to fight against oppression, to change body and spirit. But such a goal requires a radical redefinition of Poetry. Artaud and Michaux's gesture is particular in the way that it operates on a broader level, from the perspective of an « expanded field, » which comes through in many forms: poems - yes, but also drawings, paintings, performances, theater, dance and music. In order to « cure life », this artistic continuum requires perpetual exorcisms. But, at the same time, it calls for a construction of Self which is engaged in an ontology of alteration. Paying attention to the performativity of the various artistic configurations which play out in these works, the present study will mainly focuses itself on the notion of « poetic experience ». But however deeply personal this experience is, its meaning will come out when taken and reinterpreted by others. For « poetic acting » can only be conceived through the form of a shared space of action
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Vidieu-Larrère, Francine. "Lecture de l'imaginaire des oeuvres dernières d'Antonin Artaud." Chambéry, 1994. http://www.theses.fr/1994CHAML001.
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Cette thèse a pour objectif d'établir l'autonomie de l'oeuvre dernière d'Antonin Artaud (de 1943 à 1948) par rapport aux écrits antérieurs, d'étudier, en en révélant l'unité, la structure poétique des textes scripturaux et picturaux, de mettre au jour ce vers quoi ils tendent, ainsi que leur manière exemplaire d'adapter le temps à leur réalité. Elle procède pour cela à la lecture de l'imaginaire de l'oeuvre en précisant, en préambule, la particularité de cette dernière, les itinéraires qui s'y dessinent et la méthode d'investigation et d'exploration choisie. La première partie suit l'itinéraire qui dévoile l'opposition entre le "je" et le(s) double(s), sous-tendant, de la part de celui qui parle, une recherche d'identité et des efforts pour dénoncer une réalité fallacieuse, ouvrage des doubles et résultat d'une claustration imposée, mais toujours repoussée. Le deuxième itinéraire, objet de la deuxième partie, montre que le corps du "je" est menacé d'envahissement par des forces extérieures contre lesquelles plusieurs stratagèmes sont adoptés. Le plus efficace serait d'opérer provisoirement le morcellement du corps afin d'occuper tout l'espace possible et ainsi éloigner l'ennemi. La troisième partie s'articule en fonction du troisième et dernier itinéraire développant les possibilités de reconstruction de l'être à partir du "mouvement", nettement valorisé, et des forces rythmiques favorisant l'émergence des forces de rassemblement capables de mener vers l'unité. Cela implique la solitude du "je", coupé de toute ascendance (familiale et culturelle), mais non de descendance puisque la création se manifeste également dans la venue des filles "parthénogénétiques". L'individuation obtenue, c'est la quête du réel qui est assuréeThe aim of this dissertation is to show that Antonin Artaud's last works (from 1943 to 1948) are independent from his previous writings, to study the poetic structure and bring out the unity of his scriptural and pictural texts, to unveil their overall meaning and the examplary way time is adapted to their reality. To that purpose, we shall try, in an introductory part, to interpret the role played by imagination in these writings while underlining their specificity and their main guiding lines, and defining our method of investigation. The first part follows a guiding line which reveals the opposition between the "I" and the "double(s)", the speaker's underlying quest for identity and his efforts to expose a deceptive reality which is the double's doing and results from an imposed but never accepted confinement. The second guiding line, studied in the second part, shows that the bodily part of the "I" is threatened by outside forces against which various stratagems are used to prevent invasion, the most efficient one would be for the body to temporarily split up in order to occupy as much space as possible, thus keeping the foe at a distance. The third part hinges on the third and last guiding line, enlarging upon the possibility of reconstructing forces to emerge, leading to unity. It implies that the "I" is a solitary entity, cut off from any family or cultural roots, but not without offspring since creation also manifests itself in the coming of the "parthenogenetic" daughters. Once identity is achieved, the quest for reality is ensured
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Cunha, Renan Pavini Pereira da. "Linguagem e transgressão nos escritos de Antonin Artaud." Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Letras, 2011. http://www.bibliotecadigital.uel.br/document/?code=vtls000168961.
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O objetivo deste trabalho é investigar a relação de Antonin Artaud com sua escrita. Para tal, elegemos quatro textos principais para examinarmos: Héliogabale ou lanarchiste couronné (1934); Les nouvelles révélations de lÊtre (1937); Lettres de Rodez (1943-1946); Correspondance avec Jacques Rivière (1924). Dividimos a dissertação em três capítulos. O primeiro visa apontar como Artaud, através do personagem Heliogabalo, tentou elaborar uma nova linguagem ligada à sua ideia de crueldade. No segundo capítulo, nosso foco é buscar a relação da morte com a escrita (o desaparecimento do autor), e como a experiência do internamento carrega consigo uma ambiguidade entre o escrever e o silenciar. No último capítulo, nosso fito é mostrar porque as cartas que Artaud enviou a Jacques Rivière são consideradas mais dignas de publicação que seus próprios poemas, para, doravante, comparar a experiência dessa correspondência com os últimos anos de seu internamento, quando escreveu por glossolalias. Nosso intuito é mostrar como em diferentes épocas Artaud se relacionava com sua escrita, e como existiu uma relação de mudança e de desaparecimento da autoria em sua obra.The objective of this work is to inspect the relation between Antonin Artaud and his writing. For that purpose, we mainly choose four texts to examine: Héliogabale ou lanarchiste couronné (1934); Les nouvelles révélations de lÊtre (1937); Lettres de Rodez (1943-1946); Correspondance avec Jacques Rivière (1924). We divided the dissertation in three chapters. The first one aims to show how Artaud tried to elaborate, through the Heliogabalo persona, a new language that is related with his idea of cruelty. In the second one, our focus is to find the relation between death and writing (the vanishing of the author), and how the internment experience carries a ambiguity between writing and silencing. In the last chapter, our intent is to show why Artauds letters to Jacques Rivière are considered worthier to publish than his own poems, and then to compare the experience of this mail with the last years of his internment, when he writes by glossolalias. Our intention is to show how Artaud relates himself to his writing in different times, and how existed a relation of changing and vanishing of authorship in his work.
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Vilela, Glenio Araujo. "A escrita labiríntica e performática de Antonin Artaud." Universidade Federal de Minas Gerais, 2013. http://hdl.handle.net/1843/ECAP-95DJ34.
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This work uses the language of performance as a theoretical support for building different strategies of analysis of two Antonin Artaud literary works: Jet of blood(1975) and To have done with judgment of God(1983). The goal is to draw tension points that are part of the aesthetic construction of these plays, which meanings remain mostly elusive. In these plays, Artaud disposes of linguistic codes and structures based on
conclusive dramatic action, proposing a procedural written, open, incomplete. Thus, the scope of this study is to establish a dialogue between the concept of performance and Artaud literature. In addition, it will use also the concept of Derrida (deconstruction), of Agamben (negativity and voice), of Didi-Huberman (dialectical image and anachronism), of Adorno (negative dialectics) as reading operators to rate the extent to which these can be considered performative dramaturgy.Esta dissertação utiliza a linguagem da performancecomo suporte teórico para se construir diferentes estratégias de análises de duas obras literárias de Antonin Artaud: O jato de sangue(1975)e Para acabar com o julgamento de Deus(1983). O objetivo é traçar pontos de tensão que constituem parte da construção estética dessas obras teatrais, cujos sentidos permanecem quase sempre inapreensíveis. Nessas peças, Artaud se desfaz dos códigos linguísticos e da estrutura baseada na ação dramática conclusiva, propondo uma escrita de caráter processual, aberta, lacunar. Assim, o escopo deste estudo é estabelecer um diálogo entre o conceito de performance e a literatura artaudiana. Além disso, usar-se-á, também, o conceito de Derrida (desconstrutivismo), os de Agamben (a negatividade e a voz), os de Didi-Huberman (imagem dialética e anacronismo), o de Adorno (dialética negativa) como operadores de leitura para classificar em que medida essas dramaturgias podem ser consideradas performáticas.
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Verzini, Barbara. "Las herencias filosóficas de Artaud: El teatro de reanimación." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/134059.
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In questo lavoro di ricerca mi sono proposta di analizzare lo sviluppo e le virate del teatro dopo la rivoluzione degli anni '60. In particolare, ho analizzato il contributo teorico e estetico politico della Fura dels Baus nel periodo in cui Marcel.lí Antúnez Roca ha costituito uno degli elementi portanti di questo collettivo artistico, (tra il 1979 e il 1989), periodo in cui si realizzò la trilogia della Fura: «Accions» (1984), «Suz o Suz» (1985), «Tier Mon» (1988).
Le azioni di questo gruppo teatrale rimandano a concetti rivoluzionari dell'arte provenienti inizialmente dal teatro di strada, in cui si possono riscontrare tematiche fondamentali come la scomparsa di una gerarchia tra direttore ed attore, la manipolazione e il controllo sullo spazio dello spettatore, l'assenza di una narrazione psicologica, la partecipazione attiva del pubblico all'interno dello performance, la scomparsa di un palcoscenico.
Questa interpretazione politica del teatro, trova le sue radici nelle riflessioni e nei lavori di Antonin Artaud e del suo teatro della crudeltà, dove per crudeltà si intende vita, necessità e morte.
Da cui il teatro della crudeltà propone uno spettacolo totale e di massa in cui rimarrà esclusa la rappresentazione come mimesi e nel quale rimarrà come unica protagonista la vita stessa in quello che porta di non rappresentabile.
Per questo motivo la voce di Antonin Artaud risuona costantemente in questo lavoro di ricerca, quale riferimento necessario ed insostituibile.
D'altra parte un'arte che si fonda su una nuova percezione del corpo e dell'identità, che cerca di portare sulla scena la vita e non la sua rappresentazione, richiama altre voci oltre a quella di Artaud: dalla carne macellata di Deleuze, alla biopolitica di Foucault, al rituale sacrificale di Girard, al Butō, all'attraversamento rivoluzionario del pensiero della differenza sessuale sino a spingersi alle utopie cyborg di Donna Haraway.During this research, I realized how much it was necessary to introduce philosophically the sexual difference, to give the fundamental coordinates and the instruments i used to approach "Fura dels Baus and Marcellì Antunez Roca" aesthetics. As Carla Lonzi pointed out already in the 70s, the revolutionary significance of the philosophy of difference has not much to see about with the traditional aesthetics critic, which consider artists and works as analysis-objects, serving a strict interpretative structure, static and bearer of disimbodied words,enslaved to a dead symbolic order and not much effective by now. The Fura trilogy represented for me the passport to a research work, free of the weight of a certain aesthetic philosophy, still bound to classic traditions, with not much experimentations and blocking movement of the pen and the body. From the first meeting with Marcellì Antunez, i immediately realized having in front of me exactly what Artaud used to write, madly insisting with subjectil, primordial sacrificial violence, incredibly written from Girard, for the liberation of a total artistic gesture. All that butcher meat of Deleuze and the incessant frantic movement of transfiguration, remind me immediately back the ancestral transforming power of the ritual connected to the roots of the earth. And in the power of the earth did not resound only Moya,the earth of the origin of the catalan collective but also Tohoku,the earth of Hijikata, master of life and death of the Buto. For this parallelism that run in all the research between Fura and Buto it is absolutely unescapable, I do not think it is possible understand the Furero's symbolic order without investigate the philosophy and the aesthetics of the dance of darkness. All the artistic and philosophic movements used in this thesis work from and to the body, that is the main element and heart. The beginning point is to consider the body as an artistic privileged material, a place where everything happens and can change sign, battlefield in which is possible to act, as Foucault underlines, one of the authors who is more interested in biopolitic.
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Morou, Antigone. "Sophocle et Artaud : Pour une représentation contemporaine d'"Ajax"." Paris 3, 1990. http://www.theses.fr/1990PA030097.
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Influence par la premiere pensee magico-religieuse grecque (vie siecle:orphisme, "chamanisme grec"), l'univers de sophocle est fonde sur une vision de "l'homme total": la polarite des principes originels, les moeurs que le heros defend (culte des morts), la langue tragique, affirment la presence du mythe chez sophocle, dans ajax, il s'agit de la divination du heros tragique qui, tout comme le dieu orphique, dionysos, passe a travers la souffrance de la mort et a la restauration du corps dionysiaque. La vision theatrale d'artaud s'inscrit dans la perspective d' un retour au mythe: son acteur re-incarne le heros mythique, mediateur des conflits, construisant par son jeu un espace rituel. Artaud evoque, lui aussi, la pensee grecque, surtout dans son discours sur le corps (conceptions orphiques) et sur la culture (pensee d'heraclite). Sa volonte rejoint ainsi celle de sophocle: retrouver le corps unique; divin. Ajax pourrait ainsi constituer un modele du theatre de la cruaute : la parole tragique et le jeu scenique designent ici un espace rituel, tel qu'artaud voulait creer au theatre. Notre projet de mise en scene propose un espace combinant la structure du theatre antique grec et celle du theatre d' artaud (les spectateurs entoures par l'action) : c'est le choeur qui transformerait les donnees spatiales. Ainsi, le jeu theatral (voix-jeu des acteurs) avec la lumiere et le son joueraient un role physique en construisant un espace rituel, suivant les imperatifs du theatre de la cruauteInfluenced by the premier magico-religious greek thought (vi century:orphism, "greek shamanism"), sophocleu's universe is founded on the vision of the "the total man":the antithesis of the original principles, the ethic the tragic hero defends (cult of dead) and the tragic language affirm the presence of the myth in sophocleus. In ajax, the trajic hero becomes divine and he, as the orphic god dionysus, passes through passion from death to the restoration of the dionysiac body. Artaud's theatrical vision springs from the mythic sources: his actor, incarnation of the mythic hero, mediator of the conflicts, from a ritual space by his acting. Artaud evokes the greek thoght as well as sophocleus, especially in his ideas bout the body (orphic conceptions) and the culture (heraclitu's influence). His search follows the sophoclean mind in recreating the divine united body. So ajax could constitute a model of the theatre of cruelty : the trajic language and the acting from a ritual space, as artaud wanted to realise in his theater. Our project of direction proposes a space conbining the structures of the ancient greek theater and artaud's theater (the spectators are encircled by the action): the chorus could transform the space (according to his acting). The acting (voice and movement of the actors), the light and the sound would create a ritual space, exercing a "physical" role, as in artaud's theater
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Skeika, Jhony Adelio. "Ecos de esquizolinguagem em Clarice Lispector e Antonin Artaud." Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Letras, 2017. http://www.bibliotecadigital.uel.br/document/?code=vtls000215697.
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Esta pesquisa analisa a construção da escrita literária de Clarice Lispector e Antonin Artaud, a fim de sustentar a ideia de que esses dois autores exercitam expressões de uma linguagem experimental, desfragmentada, multifacetada, híbrida, que mistura diversos signos de maneira insólita; dicções literárias daquilo que, a partir dos estudos dos filósofos franceses Gilles Deleuze e Félix Guattari, chamo de Esquizolinguagem. O trabalho está dividido em 4 partes, as quais têm a pretensão de funcionar pela lógica de platô uma região contínua de intensidades, vibrando sobre ela mesma, e que se desenvolve evitando toda orientação sobre um ponto culminante ou em direção a uma finalidade exterior (BATESON apud DELEUZE; GUATTARI, 1995, p. 33). Embora isso seja meio paradoxal, já que uma tese pretende criar um discurso, se não inédito, original sobre um determinado objeto, o que implicaria conceber conclusões, esta pesquisa não pretende estabelecer uma teoria estanque sobre a obra de Artaud e de Lispector, mas antes verificar as zonas de convergência e conexão entre as produções desses autores, procurando delinear traços da estética do discurso artístico-literário exercitado nos textos escolhidos. No primeiro platô acompanhamos o passeio do esquizofrênico pela máquina capitalista, procurando refletir sobre as confluências entre a noção de esquizofrenia que norteia este trabalho e o território da linguagem, onde se territorializa o sujeito esquizo. O segundo platô é o espaço de intensidades clariceanas, remontando o percurso da linguagem na obra de Clarice Lispector até chegar ao processo doloroso de escritura de Água viva (1973). Procuro conectar as discussões sobre a (in)eficiência da língua humana e seu escape para a pintura, música, linguagem do corpo, silêncio, etc. a alguns quadros que foram pintados pela autora, isso na tentativa de perceber um projeto estético-literário acontecendo na produção de Lispector. O terceiro platô esboça a dinâmica de escritura de Antonin Artaud e o amadurecimento da proposta chamada de Teatro da Crueldade, também refletindo sobre os diversos signos evocados em sua pictografia (DERRIDA, 1998). As obras que ganham maior atenção são Les sorts (1937-1939), Artaud le Mômo (1947), Suppôts et suppliciations (1947) e 50 dessins pour assassiner la magie (1948) textos que estiveram no foco das minhas pesquisas durante o estágio doutoral PDSE na Université Paris X (Nanterre, La Défense, França), que aconteceu entre setembro de 2014 e maio de 2015. Por fim, o quarto platô procura abordar, a partir da ótica da Esquizoanálise (DELEUZE; GUATTARI, 1995, 2010), uma conduta de construção literária a partir de uma linguagem multifacetada, híbrida, deslocada, insólita, etc., e que, em alguns casos, rompe com o sistema da língua a Esquizolinguagem , procurando nos textos de Artaud e Lispector algumas características possíveis desse procedimento esquizo de criação. Todavia, como indicado no título do trabalho, o que alcanço são apenas vislumbres e ecos dessa expressão de linguagem. Portanto, o movimento analítico exercitado no âmbito desta tese é o de territorializar algumas características dessa expressão esquizo que podem ser percebidas na produção desses autores, especificamente, nos textos escolhidos.This research analyzes the literary writing procedures of Clarice Lispector and Antonin Artaud, in order to assert that these two authors exercise expressions from an experimental, defragmented, multifaced and hybrid language, which merges different signs unusually. Based on Gilles Deleuze and Félix Guattaris studies French philosophers , I name these literary expressions as Schizolanguage. The text is divided into four parts, intended to be like plateaus a continuous, self-vibrating region of intensities whose development avoids any orientation toward a culmination point or external end (BATESON apud DELEUZE; GUATTARI, 1995, p. 33). Although it is a little paradoxical, since a thesis is supposed to create a discourse, if not unprecedented, original about some subject-matter, which implies to conceive conclusions, this research doesnt intent to establish a final theory about Artaud and Lispectors artistic productions, but explore the convergence zones between these authors, delineating the aesthetic discursive traces inside of chosen texts. In the first plateau, we follow A schizophrenic out for a walk (DELEUZE; GUATTARI, 2010, p. 12) through the capitalist machine, discussing about the confluences between the schizophrenia concept kept in this study and the language terrain where the schizophrenic subject is territorialized. The second plateau is the area of Clarice Lispectors intensities, recreating the language pathway inside her texts until getting to the painful writing process of Água viva (1973). In this section, I discuss about the (in)efficiency of the human language and the words scape to the painting, music, body language, silence, etc. I connect the discussion to some Lispectors paintings, intending to realize the authors aesthetic-literary project. The third plateau drafts the Antonin Artauds dynamic writing and the developing of the Theatre of Cruelty, also reflecting about the different signs evoked in his pictography (DERRIDA, 1998). The texts analyzed are Les sorts (1937-1939), Artaud le mômo (1947), Suppôts et suppliciations (1947) and 50 dessins pour assassiner la magie (1948) these texts were in the focus of my studies during the doctorate-stage PDSE in the University Paris West (Nanterre, La Défense, France), between september 2014 and may 2015. Finaly, the fourth plateau explores, based on the Schizoanalyze (DELEUZE; GUATTARI, 1995, 2010), a kind of literary production stemmed from a multifaced, hybrid, displaced, unusual language, which sometimes breaks even the system of the Langue the Schizolanguage , searching inside Artaud and Lispectors texts some possible features to comprehend this sort of creation procedure. However, as indicated by the thesiss title, I only got a fleeting glimpse and echoes of this demeanor of language. Thus, the analyzing movement of this study territorialize some aspects of this schizo expression, perceived in the authors artwork, specifically in the chosen texts.
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Amara, Lucia Maria. "La scène de la Glossalalie dans l'oeuvre d'Antonin Artaud." Paris 7, 2009. http://www.theses.fr/2009PA070039.
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La thèse est axée sur la glossolalie, ce langage inventé et disséminé dans les derniers écrits d'Antonin Artaud, de 1943 jusqu'à sa mort. La thèse s'articule en deux partie fondamentales : La première comprend trois niveaux d'analyse correspondant à trois chapitres : Mystique, Métrique, Métaplasme, Cette partie tente de retrouver dans la glossolalie une composition précise, caractérisée par un certain système métrique et réalisée à travers les formes de la répétition et de la variation, qui lui confèrent une substance sonore. La seconde partie se compose également de trois niveaux: Poésie, Voix, Exercice: Partant de fait éprouvé de la présence du son et en conséquence de toute une série de dispositifs de la voix dans la langue glossolalique, il s'agit de révéler les potentialités expressives et performatives de ces formes « théâtrales » que Artaud a expérimentées lors des lectures publiques et de l'émission radiophonique. Entre la première et la seconde partie de la recherche il y a un chapitre intitulé Bouche qui fait office d'introduction à l'approche théâtrale de la glossolalie contenu dans la second partie. Les textes qui composent l'ultime production d'Artaud donnent de l'emphase à la cavité buccale, l'organe d'émission de la voix et de la poésie, notamment en en isolant chaque composant (larynx, langue, glottes), de la même manière que la langue est disloquée en glossolalie. Geste que l'on peut, encore une fois, ramener aux mystiques et à leur manière d'anatomiser le corps en isolant chaque partieThe thesis of Dr Lucia Amara focuses on the glossolalies, which is the Antonin Artaud invented language that lie disseminates within his latest production, from the 1943 until death. The thesis of Dr. Amara is divided into two main parts. The first one includes three levels of analysis corresponding to three chapters: Mystic, Metric, Metaplasm. This section attempts to trace a precise structure in the glossolalia, structure which is characterized by a certain metrical pattern and implemented by figures of repetition and variation, which give essentially matter of sound. The second part, also includes three levels: Poetry, Voice, Exercise. Starting from the data provoked by the presence of sound and, consequently, by an entire series of devices in the language of heading glossolalia, the expressive potential or performance have been highlighted, in those "theatrical" forms that Artaud precisely experienced in readings and issuing radio
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Kumaki, Atsushi. "L’avatar du Moi : l’évolution théorique de la poétique d’Antonin Artaud." Thesis, Lyon, École normale supérieure, 2011. http://www.theses.fr/2011ENSL0663/document.
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Le but de la présente thèse est de retracer le changement théorique qu’a réalisé Antonin Artaud de la notion du moi, et par là d'éclairer la poétique particulière qu’il a établie à la fin de sa vie. La 1ère partie focalise ses premiers écrits et surtout la maladie dans laquelle il ne pouvait penser. Qu’est-ce que l’impossibilité de penser ? Pour lui cette maladie n’est qu’un dysfonctionnement psychologique. Sa maladie consiste à son incapacité de faire correspondre rétrospectivement sa pensée intérieure aux paroles extériorisées. A l’époque le moi artaldien restait minimisé. Il s’agit dans la 2e partie de la théorie du théâtre qu’il développait toute sa vie. Certes sa théorie reste cohérente en ce sens qu’il s’agit toujours de la relation entre le texte et l’acteur. Mais dans les années 30 comme le texte fonctionne comme un double qui hante le moi de l’acteur et lui demande tel ou tel acte, le texte se trouve toujours antérieur à l’acteur. Par contre, dans les années 40, Artaud n’accepte plus l’antériorité du texte par rapport à l’acteur, ce qui rend impossible le théâtre au sens ordinaire du terme. La 3e partie aborde l’hypertrophie du moi artaldien. Or cette centralité du moi artaldien n’est pas un solipsisme car ce n’est que rétrospectivement qu’il peut dire « tout est sorti de moi ». Cette rétrospectivité lui permet de développer sa propre poétique à travers la lecture des Chimères de Nerval où il établit un nouveau sujet littéraire : sujet de lecture qui domine rétrospectivement l’espace poétique. L’hypertrophie du moi n’est point un symptôme de la schizophrénie, mais un support théorique à la poésie contemporaine, comme la poésie sonore ou littéralisteThe purpose of the present thesis is to redraw Antonin Artaud's theoretical change of the notion of the ego, and to clarify the particular poetics that he established at the end of his life. The 1st part of the thesis focuses his early writings and especially the disease by which he could not think. What is the impossibility to think? For him this disease is only a psychological dysfunction. His disease consists in his incapacity to make, afterward, his internal thought correspond to the exteriorized words. At the time Artaud's ego remained minimized. In 2nd part, it is a matter of the theory of theater that he developed all his life. While his theory remains coherent in the sense that it is always about the relation between the text and the actor. But in the 30s as the text works as a double that haunts the ego of the actor and asked him a particular act, the text is always previous to the actor. On the other hand, in the 40s, Artaud does not accept any more the anteriority of the text with regard to the actor, what makes impossible the theater for the common sense of the term. The 3rd part approaches the hypertrophy of Artaud's ego. But this centrality of the ego is not solipsism because it is only afterward that he can say "everything went out of me". This rétrospectivité allows him to develop his own poetics through the reading of Les Chimères of Nerval where he establishes a new literary subject: subject of reading which dominates afterward the poetic space. This hypertrophy of the ego is not a symptom of the schizophrenia, but a theoretical support in the contemporary poetry, as the sound poetry or literalist poetry
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Kariya, Toshinobu. "Antonin Artaud épistolier : une pratique paradoxale de l’expression du moi." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20033/document.
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La correspondance d’Antonin Artaud (1896-1948) occupe une place essentielle dans ses écrits. Elle montre sans doute mieux que ses autres textes la singularité de son expression. Cette thèse examine le rôle joué par sa correspondance, rôle dont on admet l’importance mais encore insuffisamment exploré. À partir de la publication de la Correspondance avec Jacques Rivière (1924), commencée à la suite du refus de Rivière de publier les poèmes d’Artaud, celui-ci publie lettres ou textes épistoliers comme si cela pouvait remplacer ses œuvres dans lesquelles il n’arrive pas à exprimer sa réalité à cause de la maladie dont il souffre : il refuse les œuvres « détachée[s] de la vie » et croit pouvoir mieux s’exprimer dans les lettres. L’expression épistolière est pour lui un moyen de faire entendre le « cri même de la vie » et de lutter contre « un sentiment de gratuité ». Toutefois, il n’est pas évident que, bien qu’elle soit ancrée dans des situations réelles, la correspondance puisse fonctionner comme Artaud le souhaite; il s’avère plutôt qu’elle a pour lui un statut ambigu dans les années 1920 et 1930. Le chapitre 1 aborde ce problème sous deux aspects : l’authenticité et la temporalité. Dans ses lettres, on constate qu’Artaud se plaint très souvent de l’incompréhension de ses destinataires vis-à-vis de sa douleur; ses lettres n’en garantissent pas, pour eux, l’authenticité et l’équivoque y revient sans cesse. Pour lui, l’authenticité doit être prouvée par l’adéquation de l’écriture épistolière avec le présent. Mais sa maladie, ainsi que le fait que les lettres ne sont que des écrits, empêchent la réalisation de cette adéquation. Ses lettres ne parviennent à transcrire que sa hâte et le décalage temporel. Ainsi, loin de témoigner de sa réalité brute, sa correspondance devient tentative de couvrir ce décalage, de trouver la réalité qu’il n’arrive pas à saisir, son vrai moi, originel et intact. Pour cela, Artaud recourt à des éléments imaginaires en exigeant toujours le contact immédiat, d’où le rôle paradoxal de ses lettres. Le chapitre 2 examine le problème de la destination. La présence des autres est nécessaire à Artaud pour penser, pour compléter son manque. Ses destinataires sont ainsi des dépositaires de son moi. Mais ses lettres s’adressent, au-delà des destinataires réels dont la présence n’est qu’imaginaire, à l’instance transcendante, à l’Autre comme le remarque Vincent Kaufmann dans L’Équivoque épistolaire, instance qui lui donne accès à l’expression et lui restitue son identité. Ses destinataires (critiques, autorités religieuses, hommes politique, médecins, etc.), autoritaires et paternels, sont des figures de cet Autre. Par ailleurs, ses destinataires féminines et amoureuses sont pour lui des moitiés qu’il faut s’incorporer pour retrouver l’unité originelle. Ses lettres d’amour sont ainsi marquées par son désir violent de fusion. Pourtant, l’union amoureuse expose en même temps l’unité de son moi à la perte dans le flot de choses. Les lettres sont aussi écrites pour introduire une distance.L’enjeu de ses lettres de voyage, étudiées au chapitre 3, est de réaliser les deux mouvements inverses (rapprochement et éloignement). Les pays lointains constituent pour Artaud l’ailleurs métaphysique où retrouver son unité originelle. Pendant ses voyages au Mexique (1936) et en Irlande (1937), ses lettres sont comme une scène pour l’avènement de sa nouvelle identité, scène où se rencontrent l’au-delà et l’ici-maintenant. C’est ici que son usage paradoxal des lettres atteint son sommet car la réalisation du « vrai drame » signifie, comme il le prophétise, la disparition du monde matériel et donc aussi celle de l’écriture épistolière. Ses lettres mettent en scène leur propre disparition qui coïncide curieusement avec son arrestation à Dublin et le commencement de sa vie asilaire (1937-1946)The correspondence of Antonin Artaud (1896-1948) occupies an essential place in his writings. It shows probably better than his other texts the singularity of his expression. This dissertation examines the role played by his correspondence, the importance of which is admitted, but still insufficiently explored. From the publication of the Correspondence with Jacques Rivière (1924), that started following the refusal of Rivière to publish the poems of Artaud, he publishes letters or texts in epistolary style as if they could replace his works in which he is unable to express his own reality because of his illness : he refuses works "separated from life" and believes he can better express himself in letters. The epistolary expression is for him a way to make the "cry of life" heard and to fight against the "feeling of lack of cause". However, it is not clear that, although anchored in real situations, the correspondence can function as Artaud wants. Rather, in the 1920s and 1930s, its position for him is ambiguous.Chapter 1 approaches this problem in two aspects : the authenticity and the temporality. In his letters, we can see Artaud complain very often of his addressees’ misunderstanding about his pain. His letters do not prove its authenticity, and the ambiguity always goes into them. For him, the authenticity must be proven by the accord of his writings with the present time. But his illness, as well as the fact that the letters consist of words, prevent the realization of this accord. His letters can transcribe only his hustle and time gaps. Thus, far from showing his raw reality, the correspondence becomes an attempt to cover these gaps, to find the reality that he cannot seize, his true self, original and intact. To do this, Artaud uses imaginary elements, still asking for the immediate contact, which makes the role of his letters paradoxical. Chapter 2 examines the problem of destination. The presence of others is necessary for Artaud to think, to complete his lack. His addressees are depositories of his self. But his letters are addressed, beyond actual addressees whose presence is after all imaginary, to the transcendent instance, to the Other as notes Vincent Kaufmann in L’Équivoque épistolaire, instance that allow him access to the expression and restores his identity. His addressees who are authorities and paternal (critics, religious leaders, statesmen, doctors, etc.) are figures of the Other. In addition, the female addressees who are his lovers are his halves that must be incorporated to find again the original unity. His love letters are so marked by his strong desire of fusion. Yet at the same time, the union by love exposes his unity to loss in the flow of things. Letters are also written in order to introduce a distance. The issue of his travel letters, discussed in Chapter 3, is to make simultaneously the two opposite movements (close and away). Distant countries represent for Artaud metaphysical places where he should find his original unity. During his travels in Mexico (1936) and Ireland (1937), his letters are like a stage for the advent of a new identity, stage where meet the beyond and the here-now. It is here that the paradoxical use of letters reaches the peak, because the realization of the "real drama" means, as prophesied he, the disappearance of the material world and therefore that of the letters. His letters direct their own disappearance, which curiously coincides with his arrest in Dublin and the beginning of his life in asylums (1937-1946)
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Kumaki, Atsushi. "L'avatar du Moi : l'évolution théorique de la poétique d'Antonin Artaud." Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2011. http://tel.archives-ouvertes.fr/tel-00678315.
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Le but de la présente thèse est de retracer le changement théorique qu'a réalisé Antonin Artaud de la notion du moi, et par là d'éclairer la poétique particulière qu'il a établie à la fin de sa vie. La 1ère partie focalise ses premiers écrits et surtout la maladie dans laquelle il ne pouvait penser. Qu'est-ce que l'impossibilité de penser ? Pour lui cette maladie n'est qu'un dysfonctionnement psychologique. Sa maladie consiste à son incapacité de faire correspondre rétrospectivement sa pensée intérieure aux paroles extériorisées. A l'époque le moi artaldien restait minimisé. Il s'agit dans la 2e partie de la théorie du théâtre qu'il développait toute sa vie. Certes sa théorie reste cohérente en ce sens qu'il s'agit toujours de la relation entre le texte et l'acteur. Mais dans les années 30 comme le texte fonctionne comme un double qui hante le moi de l'acteur et lui demande tel ou tel acte, le texte se trouve toujours antérieur à l'acteur. Par contre, dans les années 40, Artaud n'accepte plus l'antériorité du texte par rapport à l'acteur, ce qui rend impossible le théâtre au sens ordinaire du terme. La 3e partie aborde l'hypertrophie du moi artaldien. Or cette centralité du moi artaldien n'est pas un solipsisme car ce n'est que rétrospectivement qu'il peut dire " tout est sorti de moi ". Cette rétrospectivité lui permet de développer sa propre poétique à travers la lecture des Chimères de Nerval où il établit un nouveau sujet littéraire : sujet de lecture qui domine rétrospectivement l'espace poétique. L'hypertrophie du moi n'est point un symptôme de la schizophrénie, mais un support théorique à la poésie contemporaine, comme la poésie sonore ou littéraliste.
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Pollock, Jonathan. "Anatomie de l'humour : Antonin Artaud et la littérature anglo américaine." Paris 10, 1999. http://www.theses.fr/1999PA100008.
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Humour, humeur : ces deux mots tendent à s'équivaloir dans l'écriture d'antonin Artaud. Il en revient ainsi à l'ambivalence qui caractérisait le mot humour a l'époque élisabéthaine, terme rhétorico-médical au même titre que mélancolie ou catharsis. La spécificité de l'humour dans le champ du comique tient à sa composante humorale ; la seule humeur psychotrope étant la bile noire, il faut se garder d'occulter la dimension <
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Bouthors-Paillart, Catherine. ""Êtredir" sa supplication psychotique : approche de l'énonciation chez Antonin Artaud." Paris 7, 1992. http://www.theses.fr/1992PA070068.
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A partir de l'hypothese d'un diagnostique clinique de structuration psychotique de la personnalite d'antonin artaud, ce memoire propose l'analyse des modalites de l'enonciation artaldienne (enonciation ecrite et orale, gestuelle enonciative), en tant qu'elles apparaissent conditionnees par ce mode de structuration psychique specifique, et tente de reperer dans les textes d'antonin artaud les indices-symptomes linguistiques de sa "suppliciation" psychotiqueThis thesis takes as its startins point the hypothesis of a clinical diagnosis of the psychotic structuring of antonin artaud's personality. It analyses antonin artaud's various modes of expression (written and oral expression, and body language) inasmuch as they appear to be conditioned by this specific type of psychic structuring, and studies the writings of antonin artaud in an attempt to locate the linguistic symptoms-clues of his psychotic agony
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Tanquerel, Sylvain. "L'invention du coeur dans les Cahiers de Rodez d'Antonin Artaud." Paris 4, 2006. http://www.theses.fr/2005PA040190.
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Cette approche s'attache à décrire les cahiers de rodez d'antonin artaud comme une suite d' " expériences basées sur l'amour et la poésie " et à y mettre en évidence un certain " travail " du féminin. Préfigurées dans les écrits de 1937, puis progressivement reprises sur la maternité virginale de marie dans le christianisme de la première période asilaire, les " filles de cŒur " deviennent, à l'été 1945, le motif principal de l'écriture des cahiers. Nous assistons, à travers ces métamorphoses successives, à l'émergence d'un " cŒur ", inséparable d'une pratique visionnaire s'appuyant sur le sens d'une imagination qui fait corps. Suspendant les catégories cliniques, notre lecture tente de comprendre ces figures féminines telles qu'elles se présentent dans les cahiers, selon le rythme phénoménal de leur apparition, et comment s'y engage une singulière production de réel. En dernier lieu, l'énigmatique amour des " filles de cŒur ", ces créatures créatrices de leur créateur, nous permet d'approcher au plus près le mystère du " corps " qui s'énonce dans les derniers écrits d'artaudThis approach seeks to describe artaud's cahiers de rodez as a series of " experiences based on love and poetry " and to clarify a certain " labor " of the feminine. Prefigured in the writings of 1937, then progressively replayed with the virginal maternity of mary in the christianity of the first phase of artaud's asylum years, the " filles de cŒur " become, by the summer of 1945, the main motif of the cahiers. Through these successive metamorphoses, we witness the emergence of a " heart " inextricably linked to a visionary practice, itself based on an imagination that embodies. Rather than engaging in clinical categorization, our reading instead attempts to understand these feminine figures as they present themselves in the cahiers, in the same phenomenal rhythm as their appearance, and to explore thereby a peculiar production of reality. The enigmatic love of the " filles de cŒur ", these creatures who create their creator, allows us, finally, to come up against the mystery of the " body " announced in artaud's late writings
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Baldauf, Stephen A. "Artaud : the new pragmatic body of the anti-paradigmatic text /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374148540.
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Kugler, Luan Caroline Oliveira Fontoura. "Cruel nonsense : possíveis convergências entre Qorpo-Santo e Antonin Artaud." Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Letras, 2017. http://www.bibliotecadigital.uel.br/document/?code=vtls000217818.
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José Joaquim de Campos Leão Qorpo-Santo, antes mesmo de aclamados dramaturgos contemporâneos, escrevia suas peças em um tom nonsense que refletia os embates cruéis que perpassavam sua vida. Com base no teatro ritual de Artaud e no Teatro da Crueldade, buscou-se aproximar os dois autores verificando suas possíveis convergências. Para tanto assumiu-se uma concepção constelar da história da literatura, o que possibilitou a aproximação entre os dois autores, cada qual em seu contexto. As convergências entre Qorpo-Santo e Artaud foram observadas na ruptura com as noções da dramática pura. A mimese nos textos de Qorpo-Santo foi transformada em cinese, assim como em Artaud. Apesar da tímida presença de um pulsar para a performance nas peças de Qorpo-Santo por meio da personificação da persona de si próprio, também foi possível verificar similaridades no que se refere à performance em ambos. Essas similaridades são observadas na relação intrínseca entre a vida e a obra dos autores. No decorrer da análise das convergências, observou-se características dissonantes entre eles. Artaud buscara resgatar o primitivo e o ritual com seu teatro, que permitiria ao performer expandir os limites do seu corpo na performance, o que não foi verificado no teatro de Qorpo-Santo. Assim, destacou-se a importância da teatralidade nas peças de Qorpo-Santo, apontando elementos que demonstram sua fixação pela palavra, seu desejo de conduzir a cena. Durante a verificação das possíveis convergências entre os autores, algumas singularidades de Qorpo-Santo, como as características da baixa comédia e peculiaridades de vanguarda, destacaram-se e comporam parte importante deste. O que se distanciou de Artaud e foi apontado como original, específico e inovador em Qorpo-Santo deu forma ao seu cruel nonsense: um reflexo de embates personificados em vida e obra, em autor e persona.José Joaquim de Campos Leão Qorpo-Santo, even before acclaimed contemporary playwrights, wrote his plays in a nonsense tone that reflected the cruelt clashes in his life. Based on the ritual theater of Artaud and the Theater of Cruelty, we tried to approach the two authors verifying their possible convergences. For this, a constellar conception of the history of literature was assumed, which made possible the approximation between the two authors, each one in its context. The convergences between Qorpo-Santo and Artaud were observed in the rupture with the notions of conventional drama. The mimesis in Qorpo-Santo texts was transformed into kinesis, just as in Artaud. Despite the shy presence of a pulsar for performance in the Qorpo-Santo pieces through the personification of the persona itself, it was also possible to verify similarities regarding performance in both. These similarities are observed in the intrinsic relation between the life and work of them. During the analysis of the convergences, dissonant characteristics were observed. Artaud sought to rescue the primitive and the ritual with his theater, which would allow the performer to expand the limits of his body in the performance, which was not verified in the theater of Qorpo-Santo. Thus, the importance of theatricality in the Qorpo-Santos pieces pointing out elements that demonstrate his fixation by the word, his desire to lead the scene. During the verification of the possible convergences between the authors, some Qorpo-Santo singularities, such as the characteristics of the low comedy and avant-garde peculiarities, stood out and constituted an important part of this. What moved away from Artaud and was pointed out as original, specific and innovative in Qorpo-Santo gave form to his cruel nonsense: a reflection of clashes personified in life and work, in author and persona.
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Samacher, Jean-Yves Olivier. "Le statut de l'œuvre chez Antonin Artaud et David Nebreda." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC029/document.
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A quelle(s) logique(s) répondent les dispositifs de création réalisés par Antonin Artaud et David Nebreda ? Quel statut attribuer à leurs « œuvres », si tant est que l’on puisse accoler cette appellation à leurs travaux ? Pour répondre à ces questions, nous mènerons une réflexion d’ordre esthétique et nous nous interrogerons parallèlement sur la spécificité du processus de création dans la psychose. Nous étudierons les productions d’Artaud et de Nebreda sous l’angle de la mise en scène et de la performativité. Nous mettrons également en lumière l’abolition de la représentation, l’effondrement de la scène et les limites du jeu / je. Nous montrerons ainsi la prédominance des registres Réel et Imaginaire conçus par Jacques Lacan. Chez ces « artistes » transgressant les frontières des genres et de l’art, les manifestations incontrôlées du corps et les conflits intrapsychiques donnent lieu à des recréations simultanées du monde et du langage, qui, en même temps qu’elles s’apparentent au déroulement d’une cérémonie de mise à mort, tracent des signes inédits, forment d’étranges parcours et s’orientent vers l’horizon d’une nouvelle naissanceWhich logic is guiding the multimodal creations proposed by Antonin Artaud and David Nebreda ? What kind of status can be applied to their “(art)works” ? In order to answer these questions, we will lead an esthetical research and study concurrently the specificities of the creative process in psychosis. We will examine Artaud’s and Nebreda’s productions through the notions of setting and performativity. We will underline the abolition of representation and the crumbling of the stage as well as the limits of play / subjectivity. We will show the predominance of the Real and Imaginary registers as they have been conceived by JacquesLacan. By Artaud and Nebreda, the uncontrolled corporal manifestations and the intra-psychicconflicts generate simultaneous recreations of the body and language as, in the same time, they achieve a sort of sort killing ceremony, tracing unseen signs, outlining strange trails and pointing toward the horizon of a new birth
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Majdalani, Charif. "Les glossolalies d'Artaud." Aix-Marseille 1, 1993. http://www.theses.fr/1993AIX10079.
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Apres un chapitre inaugural consacre a un expose de la notion de glossalalie dans l'histoire religieuse occidentale, dans les religions chamaniques et en psychiatrie, nous introduisons l'etude des glossolalies d'artaud par une lecture globale de l'oeuvre de ce poete a partir des theses psychanalytiques de melanie klein. Nous tentons de montrer que l'oeuvre d'artaud est toute entiere comme le recit d'un vazste "combat schizoide" livre contre la realite et le couple "peremere" consideres comme "mauvais objets" au sens kleinien du terme et surtout que les glossolalies incluses dans cette oeuvre constituent une des modalites de ce combat, le "mauvais objet" etant ici incarne par la langue maternelle - en l'occurence le francais. Apres avoir demontre que les sons dans lesquels sont generalement investies les pulsions agressives anales, uretrales et phalliques constituent les armes essentielles d'artaud dans ce reglement de compte linguistique, nous procedons a une analyse detaillee des diverses strategies et modes d'agressivites mis en oeuvre dans chaque sequence glossolalique. L'etude de la poetique des glossolalies d'artaud (leur rythme, leur musicalite) forme la derniere partie de ce travailThe first chapter of this thesis is bended to an account of the notion of glossolalia in the history of occidental christianity, in the chamanic religions and in psychiatry. We begin the study of the glossolalias of antonin artaud by a global study of artaud's works based on psycho-analytic thesis of melanie klein. We try to prove that artaud's texts relate a "xhizoid fight" against reality and against the couple "fother-mother" (pere-mere) considered like "bad objects" according to the kleinian meaning of the word. The glossolalias included in those texts seemed then to be a part of this fight, mother tong playing the part of "bad object". After demonstrating that artaud's principal arms in this fight are the sounds in which aggressive anal, urethral and phallic impulses are invested, we detail the various aggressive strategies used in each sequence. The last part of the thesis is composed of a poetics study of the glossolalias (in other words their rythm and their musicality)
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Groenveld, Leanne Michelle. "The medieval theatre of cruelty, Antonin Artaud and Corpus Christi drama." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq22988.pdf.
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SILVA, Edson Fernando Santos da. "Ritual em Artaud: considerações e reconsiderações por uma poética da crueldade." Universidade Federal do Pará, 2011. http://repositorio.ufpa.br/jspui/handle/2011/7787.
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Esta dissertação analisa as proposições do visionário francês Antonin Artaud sobre o teatro ritual numa estreita relação com os acontecimentos de sua vida, categorizando-o como figura liminar, para extrair de sua própria experiência de vida os elementos relevantes que justifiquem a re-sacralização do palco exigida por ele. A partir da etimologia do termo “rito”, dimensiona-se o projeto teatral de Artaud no âmbito dos ritos religiosos, âmbito no qual serão tecidas considerações sobre os conceitos fundamentais do seu pensamento tais como Duplo, Crueldade, Metafísica, Magia e Sagrado. Apresenta-se ao final a formulação pnp vale i no contexto pc, procedimento gestado e aplicado na poética de cena do espetáculo Quando a musica terminar... A formulação aponta os limites e possibilidades de se realizar o teatro ritual como atividade liminóide.
This dissertation analyses the propositions of French visionary Antonin Artaud, concerning his thoughts and accomplishments of ritual theatre in close connection with his lifetime. In this sense, Artaud is categorized as a liminal figure, insofar as he takes out, from his own life, relevant elements which justify the re-sacralization of the stage. From the etymological definition of „rite‟, this research allocates Artaud´s theatrical project the realm of religious rites, into which some of his concepts such as Double, Cruelty, Metaphysical, Magic and Sacred will be revealed. Also, the formula „pnp equals i in the pc context‟, applied during theatrical experimental montage of Quando a música terminar…, points out boundaries and possibilities of accomplishing ritual theatre as a liminoid activity.
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Silva, Adeilton Lima da. "A estética teatral no cinema de Glauber Rocha (Artaud e Brecht)." reponame:Repositório Institucional da UnB, 2007. http://repositorio.unb.br/handle/10482/3181.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2007.Submitted by Raquel Viana (tempestade_b@hotmail.com) on 2009-11-18T17:19:39Z No. of bitstreams: 1 2007_AdeiltonLimaSilva.pdf: 654836 bytes, checksum: 39026d0417ac4813e32629f819c8f9c9 (MD5)
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A presente dissertação visa a uma abordagem crítica da linguagem cinematográfica de Glauber Rocha, enfocando principalmente suas relações com a estética teatral. Para tanto, desenvolveremos um estudo sobre três filmes de sua cinematografia: Barravento (1961), Deus e o Diabo na Terra do Sol (1963) e Terra em Transe (1967). As referências teatrais abordadas são Bertolt Brecht e Antonin Artaud. _______________________________________________________________________________________ ABSTRACT
This dissertation aims at a critical approach of Glauber Rocha’s cinematographic language, focusing mainly in its relations with the aesthetic of the theater. To do so, we will develop a study about three films of his cinematography: Barravento (1961), Deus e o Diabo na Terra do Sol (1963) and Terra em transe (1967). The theoretical references on theater are Bertolt Brecht and Antonin Artaud.
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Harel, Simon. "L'ecriture de la psychose dans les textes de rodez d'antonin artaud." Paris 7, 1986. http://www.theses.fr/1986PA070063.
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Tout au long de ces ecrits de rodez se pose avec insistance la question de l'identite du sujet parlant et de sa capacite a produire un discours qui, frolant souvent le caractere desordonne du "delire", est en fait, par le recours au langage, une tentative de reparation. Cette "ecriture de la psychose" que je suppose agissante dans les lettres et cahiers d'artaud a rodez met en place un corps morcele, en proie a des effractions douloureuses, tout comme le narcissisme du sujet parlant est soumis lui aussi aux tenailles de l'economie scripturaire qui fait de ce corps le lieu d'inscription d'une loi mortifere. L'enjeu de ces textes de rodez est que puissent apparaitre un certain nombre de strategies defensives (mysticisme, glossolalies, epiphanies) accreditant ce desir d'un retour a un originaire maternel bien qu'un tel mouvement, caracterisant le desir d'une ecriture de la chose meme, entraine a son tour un souhait matricideThe subject of this thesis is dedicated to the analysis of madness understood as the relation between a stylistic form and the own status of artaud at rodez, confined to the silence of repression. The concept of psychosis must not be perceived here as the clinical definition of alienation but rather as a attempt to react against what is describe by artaud himself as a primitive agony. The fact of writing, the ambiguous definition of the correspondance itself (a possible relation between ego and the external world), the caracteristic of mysticism who represent a revendication of corporal integrity, the enunciation of incantations whose function can be compared to the illocutionnary power of the performative, trying to make of a word a world, are all numerous forms of a "semiotic" contestation (using the expression of julia kristeva) who overthrow the linear construction of narrative structure. The writing of psychosis is the achievement (never concluding however) of this conflict between the subversive influence of madness and his possible representation by litterature
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Gouttefangeas, Maud. "Au théâtre des pensées. Essais de Péguy, Valéry, Artaud et Michaux." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040045.
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Il existe un théâtre des pensées, un espace de création et de jeu où se révèle l’activité pensante. Dans leurs essais, Péguy, Valéry, Artaud et Michaux ont pratiqué un tel théâtre. Par-delà leurs différences, leurs pensées sont remarquables en ce qu’elles cherchent à se représenter à elles-mêmes à travers un modèle théâtral, lequel se configure au point d’intersection de trois théâtres. Le premier renvoie au théâtre réel du premier XXe siècle, qui voit se développer des expérimentations de mise en scène. Les lieux de spectacles et les milieux artistiques dans lesquels évoluent les quatre auteurs abordés participent à la diffusion de ces formes modernes de théâtralité, qui constituent de nouvelles possibilités de représentation dont s’imprègne leur imaginaire. Dans cet imaginaire se déploie un deuxième théâtre, théâtre intérieur auquel diverses voies – mystiques, poétiques (Baudelaire et Mallarmé) et philosophiques (Freud et Bergson) – donnent accès. Un troisième théâtre s’ouvre dans les textes, en se réalisant dans les formes et les valeurs de l’essai. La généalogie du genre, qui passe par Montaigne et Nietzsche, révèle comment, au cœur de l’écriture essayistique, interagissent théâtralisation des pensées et théâtralisation du texte. Une poïétique théâtrale se fonde que les quatre auteurs mettent en œuvre. Les pensées théâtralisées, faisant appel à des figures et des dispositifs qui rappellent ceux qui s’inventent sur les scènes modernes, sont mises en espace, en mouvement et en voix. Les textes veulent donner à voir ce théâtre des pensées où gestes, costumes, décors, éclairages, chœurs, etc., forment des compositions signifiantesThere is such a thing as a theatre of the mind, a space for creation and play, in which the process of thinking is revealed. Péguy, Valéry, Artaud and Michaud have all experienced this in their essays. Beyond the differences that distinguish their works, their thinking processes are remarkable as they seek to reveal themselves through a model that finds its origin at the intersection of three forms of theatre. The first is the actual theatre of the early 20th Century, in which many experiments occur in the art of mise en scène. The stages and artistic settings in which these four authors evolve are vessels for the transmission of new and modern forms of theatricality ; they present the authors with new possibilities as far as performance is concerned, possibilities from which their minds take inspiration. On this inner stage of the mind, a second form of theatre unfolds to which various paths – mystical, poetic (Baudelaire and Mallarmé) and philosophical (Freud and Bergson) – give access. A third type of theatre can then be found in the four authors’ works, through the various shapes and values of essayistic writing. The genre’s genealogy, from Montaigne to Nietzsche, reveals, at its very core, an interaction between dramatizations of the mind and the text. In other words, a theatrical poietic emerges, which the four authors employ. The dramatized thoughts, calling on devices and mechanisms reminiscent of those being invented on modern stages, are put into place and pushed into movement, given a voice. The texts seek to show this theatre of the mind in which actions, costumes, décor, lighting, chorus, etc., intertwine, forming meaningful compositions
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Harel, Simon. "L'Ecriture de la psychose dans les textes de Rodez d'Antonin Artaud." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37598207z.
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Borie, Monique. "Antonin Artaud le théâtre et le retour aux sources, aproche anthropologique /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376031847.
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Paula, Ellen da Silva. "As veias trágicas da loucura: leituras da poética de Antonin Artaud." Escola de Teatro, 2016. http://repositorio.ufba.br/ri/handle/ri/22003.
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Trata-se de pesquisa histórico-crítica, composta por ensaios, na linha de História, Crítica e Recepção, forma e método de aproximação inspirados em Adorno, Theodor (2003), na qual a autora produziu três textos estruturalmente independentes e subjetivamente intercambiados, procurando perseguir os rastros da loucura que marca a poética de Antonin Artaud. Partindo da concepção de experiência trágica da loucura, como pressentiu Michel Foucault, contaminado pela perspectiva do trágico nietzschiano, sugere-se que há um jogo de transgressão e de limites entre razão e loucura, que se materializa na poética artaudiana como combate do corpo, da linguagem e do pensamento contra as estruturas que os imobilizam. No recorte biográfico da viagem de Antonin Artaud à Irlanda, cria-se uma tensão metafórica entre a imagem da água e a imagem da Ilha, a fim de demarcar o combate no duelo entre a Crueldade e o Juízo de Deus, que resultará nos duros anos de intermanto asilar a que o poeta foi submetido. De onde, sob a máscara de Vincent van Gogh, Antonin Artaud acusará a sociedade do ocidente de não suportar a sabedoria trágica dos corpos delirantes, demonstrando que aquilo que chamamos loucura, nada mais é do que a potência do pensamento louco, tomada por uma Tentação para devir, a cada vez que a Crueldade da existência diante dele se desnuda, a tal ponto de provocar o suicídio.
This master´s dissertacion is historical-critical research, in the search line of History, Criticism and Reception. It was organized in the meeting academis essays, form and method of approach inspired by Adorno, Theodor (2013). The author this dissertacion produced three structurally independent texts and subjectively interchanged and she sought to pursue the traces of madness that marks the poetic of Antonin Artaud. Starting from the conception of tragic madness experience as envisioned Michel Foucault, contaminated by the Nietzschean tragic perspective, the dissertacion suggests that there is a game of transgression and of the limits of reason and madness which is embodied in the artaudiana poetic as body combat, language combat and thought combat against the structures that immobilize them. In the biographical outline of the travel Antonin Artaud Ireland, a metaphoric tension is created between the water image and the island image to demarcate the fight in the duel between cruelty and the judgment of God, that will result in the hard years of asylum boarding which the poet was submitted. There, under the mask of Vincent Van Gogh, Antonin Artaud accuses western society does not support the tragic wisdom of delirious bodies, demonstrating that what we call madness, nothing more than the power of the crazy thought, taken by the temptation to become, each time the existence of Cruelty in front of him is naked until take him to suicide limit.
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Della, Casa Martina <1984>. "Expériences du sacré et (dé)figurations du Christ. Artaud, Beckett, Pasolini." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6454/1/Della_Casa_Martina_Tesi.pdf.
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« Dieu est mort » proclame à l’envi le fou nietzschéen. C’est sous l’égide inquiète de cette assertion paroxystique, traduisant ce «malaise de la culture» qu’évoquait Freud, que la pensée, la littérature et l’art du XXe siècle européen évoluent. Cependant, le christianisme dont ce cri signe l’extrême décadence, n’est pas seul à imprégner les productions artistiques de ce siècle, même les plus prétendument athées, mais avant tout la figure du Christ - autour de laquelle sont structurés tant cette religion que son système de croyance – semble, littéralement et paradoxalement, infester l’imaginaire du XXe siècle, sous des formes plus ou moins fantasmatiques. Ce travail se propose ainsi précisément d’étudier, dans une optique interdisciplinaire entre littérature, art et cinéma, cette dynamique controversée, ses causes, les processus qui la sous-tendent ainsi que ses effets, à partir des œuvres de trois auteurs : Artaud, Beckett et Pasolini. L’objectif est de fournir une clé de lecture de cette problématique qui mette en exergue comment « la conversion de la croyance », comme la définit Deleuze, à laquelle ces auteurs participent, n’engendre pas un rejet purement profanatoire du christianisme mais, à l’inverse, la mise en œuvre d’un mouvement aussi violent que libératoire qualifié par Nancy de « déconstruction du christianisme ». Ce travail entend donc étudier tout d’abord à la lumière de l’expérience intérieure de Bataille, l’imaginaire christique qui sous-tend leurs productions ; puis, d’en analyser les mouvements et les effets en les questionnant sur la base de cette dynamique ambivalente que Grossman nomme la « défiguration de la forme christique ». Les excès délirants d’Artaud, l’ironie tranchante de Beckett et la passion ambiguë de Pasolini s’avèrent ainsi participer à un mouvement commun qui, oscillant entre reprise et rejet, débouche sur une attitude tout aussi destructive que revitalisante des fondements du christianisme."God is dead!" cries the Nietzschean madman. It is under the anxious auspices of this jarring expression, encapsulating what Freud called the “discontent of civilization”, that the philosophy, literature and art of the 20th century developed in Europe. However, just as Christianity, whose extreme decadence this cry testifies to, has remained persistently present in the artistic productions of this past century—even in those who have claimed to be the most atheist—the figure of Christ, the center around which this religion and its belief system are structured, seems to both literally and paradoxically haunt the the 20th century European imagination to more or less phantasmatic extents. This work therefore aims to examine this dynamic, its motives, underlying processes and related effects, from an interdisciplinary perspective (that of literature, art, and cinema) based upon the works of Antonin Artaud, Samuel Beckett and Pier Paolo Pasolini. The primary objective here is to propose a key for understanding this issue where the “conversion of faith”, in Deleuzean terms, in which these authors participate, does not imply a purely profanatory rejection of Christianity. Artaud, Beckett and Pasolini rather bring forward that equally violent and liberating movement which Jean-Luc Nancy defines as the "deconstruction of Christianity". Hence this study has two goals. Firstly, to investigate the Christ-based imaginary universes of Artaud, Beckett and Pasolini in light of Bataille’s inner experience. Secondly, to question its motives and its effects starting from the ambivalent dynamics which Évelyne Grossman defines as the “defiguration of the Christological form”. By doing so, Artaud’s delirious excesses, Beckett’s pungent irony and Pasolini’s ambiguous passion reveal themselves to be participating in a common movement, wavering between recovery and refusal, and resulting in a predisposition which is both destructive and revitalizing with respect to the foundations of Christianity.
“Dio è morto!” grida il folle nietzschano, ed è sotto l’egidia inquieta di questa celebre asserzione, espressione che traduce quel “disagio della civiltà” di cui parla Freud, che si sviluppano il pensiero, la letteratura e l’arte del XX secolo europeo, assumendone le conseguenze. Eppure, non solo il cristianesimo, di cui quest’urlo testimonia l’estrema decadenza, resta insistentemente presente in seno alle produzioni artistiche di questo secolo, anche le più dichiaratamente atee, ma la figura di Cristo, attorno alla quale questa religione e il suo sistema di credenza si strutturano, sembra tanto letteralmente quanto paradossalmente, infestare l’immaginario novecentesco europeo. Questo lavoro si propone quindi di indagare, in un’ottica interdisciplinare (letteratura, arte, cinema), proprio questa dinamica controversa, le sue ragioni, i processi che la sottendono e i suoi effetti, a partire dall’opera eclettica e esemplare di tre autori : Artaud, Beckett e Pasolini. Il fine è quello di offrire una chiave di lettura di questa problematica che metta in luce quanto la “conversione di credenza”, per dirlo in termini deleuziani, a cui questi autori partecipano, non implichi affatto un rigetto puramente profanatorio del cristianesimo, bensì la messa in opera di quel movimento, tanto violento quanto liberatorio, che Nancy definisce di “decostruzione del cristianesimo”. Questo lavoro si propone dunque, prima, di indagare, alla luce dell’esperienza interiore di Bataille, l’immaginario cristologico che è sotteso, più o meno visibilmente, alla loro produzione, e poi di analizzarne le movenze e gli effetti interrogandoli a partire da quella dinamica ambivalente che Grossman definisce di “defigurazione della forma cristologica”. Gli eccessi derliranti di Artaud, l’ironia talgiente di Beckett e la passionalità ambigua di Pasolini si rivelano così essere partecipi di un movimento comune che, oscillando tra ripresa e rifiuto, sfocia in un attitudine tanto distruttiva quanto rivitalizzante, nei confronti dei fondamenti del cristianesimo.