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Journal articles on the topic 'Artaud'

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Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Jannarone, Kimberly. "The Theatre before Its Double: Artaud Directs in the Alfred Jarry Theatre." Theatre Survey 46, no. 2 (October 25, 2005): 247–73. http://dx.doi.org/10.1017/s0040557405000153.

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It is ironic that the works of Antonin Artaud, who called for the rejuvenation of theatre as such, come to us today not on their own, but through an unusually dense filter: a peculiarly persistent critical/theoretical apparatus doubles his own writings and practice. Artaud's work has occupied a cultish space in both French and English criticism for several decades. Each major trend in Artaud scholarship has reinforced the image of Artaud as a brilliant/mad theoretician and inspirational writer but a failed theatre practitioner—worse, one doomed to failure. The French school of criticism has plumbed the depths of the paradoxes of Artaud's oeuvre, examining the impossibility of reconciling the inadequacy of expression with the need to express. Derrida has argued that Artaud's projects, by their nature, by his nature, cannot succeed: They betray him the moment they begin to be articulated; they cannot stand upright the minute they leave his body. Much French criticism takes Artaud's madness and uses it as a touchstone for discussion of his legacy. The French Artaud begins at the asylum in Rodez.

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2

Kluber, Warren. "Artaud’s Surgical Theatre: War, Medicine, and Regeneration." Modern Drama 65, no. 1 (March 1, 2022): 1–23. http://dx.doi.org/10.3138/md-65-1-1166.

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In 1916, as the adolescent Antonin Artaud was treated for “war neurosis” in a military hospital, he witnessed the birth of modern plastic surgery. These procedures, which rearranged injured bodies in new constellations of flesh and bone, helped to inspire Artaud’s first theatrical foray. “The spectator,” he writes in 1926, “will go to the theater the way he goes to the surgeon.” I argue that literal surgical practice is crucial to Artaud’s surgical metaphors. Plastic surgery revealed to Artaud the body’s plasticity: its capacity to morph, regrow, and heal. While the physical culture movement in interwar France promoted militarized and medicalized models of the body, Artaud used surgical motifs in his plays, poems, and films to explore how physical and mental habits might be dissevered and how they might regenerate. Although Artaud ultimately considered his attempts at theatrical surgery to have failed, I conclude by looking at current applied theatre work with US military veterans, which has been shown to transform participants’ neural networks – performing, as Artaud would put it, a kind of “brain surgery.”

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3

Caygill, Howard. "Artaud-Immunity: Derrida and the Mômo." Derrida Today 8, no. 2 (November 2015): 113–35. http://dx.doi.org/10.3366/drt.2015.0106.

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Derrida's public struggle with the spectre of Artaud began in the 1960s ‘La parole Soufflée’ and ‘The Theatre of Cruelty and the Closure of Representation’ and continued forcener le subjectile (1986) and Artaud le Moma (2002). The texts are read as attempts to break with the dominant critical/clinical readings of Artaud inaugurated by Jacques Rivière and as beginnings for a search to secure Artaud-immunity, protection for and against his words and works. It argues that Derrida's readings of Artaud systematically underestimate the power of his deliberate perversion of Platonism and his intimations of an affirmative metaphysics issuing from the replacement of the idea of the One by that of Chaos. The underestimation of the affirmative drive underwriting Artaud's work led Derrida to uncover a suicidal motif in Artaud-immunity that would eventually compromise his own understanding of auto-immunity.

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4

Corral Fulla, Anna. "Antonin Artaud sur la scène espagnole (1969-2016)." Anales de Filología Francesa 27, no. 1 (November 15, 2019): 419–48. http://dx.doi.org/10.6018/analesff.382861.

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La influencia de las teorías de Artaud en el mundo del teatro es, a día de hoy, una realidad indiscutible. En efecto, Artaud representa uno de los pilares sobre el que reposan los grupos colectivos de teatro independiente surgidos en los años 60-70 (Living Theater, etc.); las teorías más innovadoras de directores teatrales de renombre como Jerzy Grotowski o Peter Brook; el teatro posdramático (la performance, entre otros) y el nuevo rango otorgado a la palabra en la representación teatral. En la actualidad, Artaud es una referencia ineludible en el ámbito teatral: Artaud y El teatro y la peste; Artaud y El teatro de la crueldad; escritos teóricos recogidos en El teatro y su doble. Este artículo se propone abordar la recepción de Artaud en la escena teatral española. Nos interesa identificar qué representaciones de Artaud se han privilegiado – el hombre de teatro, el loco, el poeta, el enfermo… – y examinar la incidencia de dichos espectáculos en la divulgación de la obra de Antonin Artaud en España. The influence of Artaud's theories in the world of theatre is, today, an indisputable reality. Indeed, Artaud represents the pillar on which the collective groups of independent theatre arisen in the years 60-70 (Living Theater, etc.) rest; the most innovative theories of renowned theater directors such as Jerzy Grotowski or Peter Brook; the postdramatic theatre (the performance, among others) and the new rank granted to the word in the theatrical representation. At present, Artaud is an inescapable reference in the theatrical field: Artaud and The theatre and the plague; Artaud and Theatre of cruelty; theoretical writings collected in Theatre and its double. This article aims to address the reception of Artaud on the Spanish theatre stage. We are interested in revealing what representations of Artaud have been privileged - the theatre man, the madman, the poet, the sick ... - and examine the incidence of these performances in the dissemination of the work of Antonin Artaud in Spain. La influencia de las teorías de Artaud en el mundo del teatro es, a día de hoy, una realidad indiscutible. En efecto, Artaud representa uno de los pilares sobre el que reposan los grupos colectivos de teatro independiente surgidos en los años 60-70 (Living Theater, etc.); las teorías más innovadoras de directores teatrales de renombre como Jerzy Grotowski o Peter Brook; el teatro posdramático (la performance, entre otros) y el nuevo rango otorgado a la palabra en la representación teatral. En la actualidad, Artaud es una referencia ineludible en el ámbito teatral: Artaud y El teatro y la peste; Artaud y El teatro de la crueldad; escritos teóricos recogidos en El teatro y su doble. Este artículo se propone abordar la recepción de Artaud en la escena teatral española. Nos interesa identificar qué representaciones de Artaud se han privilegiado – el hombre de teatro, el loco, el poeta, el enfermo… – y examinar la incidencia de dichos espectáculos en la divulgación de la obra de Antonin Artaud en España.

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5

Nieto Sánchez, Varinia. "El sueño moderno de devenir Otro: tras los pasos de Artaud en la Sierra Tarahumara." Literatura Mexicana 31, no. 2 (May 8, 2020): 111–38. http://dx.doi.org/10.19130/iifl.litmex.2020.31.2.0005.

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The central points around which this article revolves are Artaud’s trip to Mexico in 1936, and its subsequent re-readings, as well as the relationships suggested by the idea of the “dream” in this historical and interdisciplinary journey. First, “the Tarahumara dream” of Artaud that questions the identity of the modern subject. Years later and in the context of postmodernity, J. M. G. Le Clézio writes the text “Antonin Artaud ou le rêve mexicain” (Antonin Artaud or the Mexican dream) and addresses the “Mexican dream” from the cross-culturalism and criticism of the West. In parallel, and guided by the texts of Artaud, the filmmakers Raymonde Carasco and Régis Hébraud made between 1976 and 2003 a series of films about the Tarahumara people and about the shamanic dream from a poetic, anthropological and philosophical perspective.

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6

Shaw, Jon K. "Athleticism Is Not Joy: Extricating Artaud from Deleuze's Spinoza." Deleuze Studies 10, no. 2 (May 2016): 162–85. http://dx.doi.org/10.3366/dls.2016.0220.

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Deleuze's writings often bring Spinoza and Artaud into close proximity, and given that the latter is often first encountered by many anglophone readers through Deleuze, the tendency to think of Artaud as a Spinozist risks becoming conventional. In fact, much of Artaud's metaphysics is incompatible with Deleuze's Spinozism, not least the relation between a body and its constitutive outside, and the questions of affect and expression. In reading Artaud's ‘An Affective Athleticism’ essay and with recourse to his final works, this article will explore these differences with particular reference to vitalism, experimentation and unilateral difference.

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7

Slote, Sam. "Namelessness from Artaud to Beckett." Samuel Beckett Today / Aujourd’hui 31, no. 1 (April 11, 2019): 130–46. http://dx.doi.org/10.1163/18757405-03101010.

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Abstract After a period of electroshock therapy, Antonin Artaud claimed to have been able to regain his name and sense of self. The dehiscence of name and identification is reprised in Artaud’s final work, the radio play Pour en finir avec le jugement de Dieu. This consists of five texts, read by four people. Each text is followed by unintelligible, glossolalic screams performed by Artaud, as if Artaud were reacting against the speech acts performed by others in his name. The structure of this play suggests the predicament of Beckett’s Unnamable: an entity reacting in pain to its attempts to articulate itself in a language that is not his, but theirs.

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8

Shaw, Jon K. "The Life of an Idiot: Artaud and the Dogmatic Image of Thought after Deleuze." Theory, Culture & Society 33, no. 7-8 (July 9, 2016): 237–52. http://dx.doi.org/10.1177/0263276416650723.

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The conceptual persona of the idiot recurs and evolves over the decades between Deleuze’s Difference and Repetition and his final book with Guattari, What is Philosophy?, shifting from a philosophical question to a nonphilosophical one that allies thought with literature and life. The great figure of this shock of literature is Antonin Artaud who, Deleuze argues, refinds thought’s creative capacity by putting it back in touch with its immanent outside – with a machinic and pre-personal ‘unthought’. This essay will argue that by turning to works from later in Artaud’s œuvre, especially the 1946 poem-cycle Artaud le Mômo, the problem of idiocy meets a correlative problem concerning life and death. Artaud establishes a four-fold of thought-unthought-life-unlife which is problematically resolved in what he calls a ‘body’, a figure which I will argue requires that we rethink the relationship Artaud experiences between idiocy and suffering.

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9

Fatemeh Sadat Basirizadeh, Narges Raoufzadeh, and Shiva Zaheri Birgani. "The Study of Spurt of Blood in the lens of The Theatre of Cruelty." LingLit Journal Scientific Journal for Linguistics and Literature 3, no. 1 (March 30, 2022): 31–36. http://dx.doi.org/10.33258/linglit.v3i1.624.

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This paper explains Antonin Artaud's Spurt of Blood in the lens of The Theatre of Cruelty. Antonin Artaud is one of the most famous writers in the history of theatre. Antonin Artaud is considered to be the main contributor to the ideologies of Theatre of Cruelty in the early twentieth century as a reaction to the generic and ordinary ways in which theatre was created In Antonin Artaud's A Spurt of Blood examines subjects that may appear frightening to the general public such as blasphemy against God and the idea of innocence being reversed to lust, or love to depravity, or security to terror.

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10

CURTIN, ADRIAN. "Cruel Vibrations: Sounding Out Antonin Artaud's Production of Les Cenci." Theatre Research International 35, no. 3 (October 2010): 250–62. http://dx.doi.org/10.1017/s0307883310000568.

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This article examines the sonic elements of Antonin Artaud's 1935 production of Les Cenci, Artaud's infamous attempt to realize his proposed ‘theatre of cruelty’. The aim is to qualify the critical opinion that Artaud was a failed theatre practitioner by analysing the conceptual complexity and potential effectiveness of the sound design for this production. Artaud utilized new sonic technologies and an aesthetic arguably derived in part from Balinese gamelan music to affect audience members on a physiological level, prefiguring the vibrational force and ultrasonic ambitions of modern sonic warfare. This analysis engages a range of primary and secondary materials, including an extant recording of music and sound effects used for the production, and is situated with reference to an estimated acoustic ‘horizon of expectations’ of Artaud's audiences and to neuroscientific conceptions of how the brain processes auditory input.

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11

Stout, John C., and Olivier Penot-Lacassagne. "Antonin Artaud 1: Modernites d'Antonin Artaud." Modern Language Review 97, no. 3 (July 2002): 722. http://dx.doi.org/10.2307/3737544.

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12

Philippe, Maxime. "Artaud et l’expérience des langues: les glossolalies comme performance thérapeutique." Nottingham French Studies 63, no. 1 (March 2024): 111–26. http://dx.doi.org/10.3366/nfs.2024.0403.

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After taking part in an art therapy experiment in 1943, Antonin Artaud started to include in his writings passages of an invented language that he connected to the tradition of glossolalia. I argue that the polyglottic dimension of this glossolalic practice is essential. After expounding the relationship of glossolalia to linguistic diversity, I will demonstrate how Artaud’s glossolalia conveys the poet’s linguistic experience. More specifically, I will emphasize the importance of the Raramuri rituals, which Artaud witnessed in Mexico in 1936, for the definition of his glossolalic practice. The Raramuri vision of an embodied and performed therapy inspired the poet to reclaim his agency in the process of art therapy. Artaud’s glossolalia corresponds to an art performance thought as such a therapy. This practice attempts to rebuild Babel, to simultaneously refound language and body.

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13

Li, Xiaofan Amy. "Eating One's Way through Cultures: Antonin Artaud's Autoexoticist Diets and Epistemologies." PMLA/Publications of the Modern Language Association of America 132, no. 2 (March 2017): 434–41. http://dx.doi.org/10.1632/pmla.2017.132.2.434.

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That culture, diet, and epistemology are intertwined and formulate one another is a truism. But to see them as one living body inhabiting shifting perspectives that can be shed easily, like snakeskins, is an exotic view that invites further investigation. Such intriguing ideas are precisely what we find in the remarkable avant-garde writer Antonin Artaud (1896–1948). This essay traces the surprising connections between Artaud's idea of culture, the body, diet, and knowledge, arguing that Artaud outlines a notion of autoexoticism as throwing open the boundaries of one's subjectivity and culture to change and rupture.

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14

White, Joel. "Anarchic Reflection and the Crisis of Krisis: Working with Artaud." Performance Philosophy 4, no. 1 (August 30, 2018): 86–105. http://dx.doi.org/10.21476/pp.2018.41208.

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This article begins by arguing that the ‘madness’ of Antonin Artaud is either fetishised or resisted, depending on the disciplinary angle from which one works. It proposes an alternative approach to the study of Artaud, which might avoid such pitfalls by reading Artaud’s work as performative philosophy or a philosophy of performance. The approach is defined by the principle of ‘working with’, rather than working on, a literary or philosophical figure. The second part of the article works, or philosophises, with Artaud, reading his work on the ‘Theatre of Cruelty’ alongside Immanuel Kant’s work on judgment from the third Critique. It explores the Kantian distinction between determining and reflective judgment, extending reflective judgment into what I call anarchic reflection. To do so, the article elucidates the conceptual relation between actuality, entropy, an-archy, cruelty and sublimity, defining anarchic reflection as an unintentional and/or intentional crisis of the judgment or krisis (κρίσις) of Form that opens the possibility of its transformation.

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15

Gladoshchuk, Anastasia V. "Theatre in Search of the Myth: Antonin Artaud and Miguel Ángel Asturias." Literature of the Americas, no. 9 (2020): 236–60. http://dx.doi.org/10.22455/2541-7894-2020-9-236-260.

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Two tendencies define one of the “master -currents” (Ch. Innes) in the XXth century drama, epitomized by Antonin Artaud’s “theatre of cruelty”: revival of ritual practices and search for a “new myth”. Artaud perceives the Myth both as the end and the means: by creating a new myth, theatre reveals and heals illnesses of modernity; by reviving the ancient, theatre conducts the primitive, metaphysical “forces” of the “great cultures”. Particularly attracted to the Mesoamerican world, Artaud intended to stage “The Conquest of Mexico” (1933), a drama in four acts, to inaugurate his new theatre. Considering this, a special relevance should be given to the fact that M.A. Asturias’s article –manifesto “Reflections on the Possibility of an American Theatre in Indian spirit” was published in November 1930, anticipating Artaud’s conception of theatre based on myth. The ideas stated in the manifesto will be put into practice in “Cuculcán” play, the last piece of the “Legends of Guatemala”, second edition (1948). Settled in Paris since 1924, Asturias received the same aesthetic impulses as Artaud did: surrealism, avant -garde cinematography, “Ballets russes”, primitivism in all its forms. However, their preferences were not thoroughly the same. A parallel reading of the manifesto and the chronicles reveals how Asturias’s ideas on theatre correspond to the cultural context. It can be affirmed that many of Asturias’s and Artaud’s principles are isomorphic: accentuation of colour and disproportion in decorations, abolition of stage, use of masks, formalized movements, rejection of rhetoric and declamation, revelation of word’s religious force. Yet the ways Asturias and Artaud work with myth differ: it is in a playful, not tragic and ritualistic mode that myths are being actualized in Asturias’s theatre, and not only by means of “mise en scène”. Asturias considers the Myth as an inherited language, that is why the action in “Cuculcán” is determined by speech and what he calls “the Word’s value”, in accordance with indigenous philosophy.

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16

Ramond, Charles. "Derrida-Artaud." Les Temps Modernes 687-688, no. 1 (2016): 207. http://dx.doi.org/10.3917/ltm.687.0207.

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17

Da Costa Dias, Luciana, and Tamira Mantovani Gomes Barbosa. "Experimentar Artaud." Diacrítica 33, no. 1 (November 19, 2019): 42–63. http://dx.doi.org/10.21814/diacritica.311.

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Um dos aspectos mais importantes de uma investigação artística é a necessidade de utilização da metodologia de pesquisa mais apropriada a cada caso. Quando se trata das Artes Cênicas, que somente nas últimas décadas ganharam força enquanto campo independente do saber, essa necessidade se faz ainda mais fremente – e as metodologias adequadas que deem conta do processo criativo do ator-pesquisador ainda estão em fase de consolidação. Neste trabalho, através de um estudo de caso, pretendemos investigar a Cartografia como metodologia de pesquisa artística na área das Artes Cênicas. O Estudo de caso aborda alguns aspectos da Oficina de Criação realizada, ao longo de um semestre letivo, no âmbito da Universidade Federal de Ouro Preto (UFOP/ Brasil). Como referencial teórico utilizado engloba autores como Antonin Artaud, Gilles Deleuze e Jacques Derrida. Nesta disciplina, ministrada pelas autoras, proposições artísticas para uso da voz e do corpo, extraídas do pensamento Artaudiano para criação de um “novo teatro” no século XX, foram experimentadas pelos alunos e mapeadas em sua evolução até a apresentação das cenas/performances finais, que encontram neste artigo a discussão de alguns aspectos observados, de modo a demonstrar que a cartografia se mostrou instrumento eficaz.

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18

Murray, Ros. "Antonin Artaud." Modern & Contemporary France 24, no. 4 (October 2016): 455–56. http://dx.doi.org/10.1080/09639489.2016.1233954.

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19

Philippe, Maxime. "Artaud, l’hérétique." L'Esprit Créateur 53, no. 3 (2013): 117–28. http://dx.doi.org/10.1353/esp.2013.0037.

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20

Barrack, Alyssa. "Antonin Artaud." Ecumenica 15, no. 2 (November 1, 2022): 205–8. http://dx.doi.org/10.5325/ecumenica.15.2.0205.

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21

Lago, Natasha do. "Antonin Artaud." Olhares 7, no. 1 (December 22, 2020): 62–70. http://dx.doi.org/10.59418/olhares.v7i1.121.

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Este artigo realiza uma breve análise da obra Para acabar com o juízo de deus, destacando aspectos históricos do contexto em que Antonin Artaud se situa e características biográficas que diferenciaram sua produção artística.

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22

Lage, André Silveira. "ARTAUD LE MOMA, DE JACQUES DERRIDA." Em Tese 14 (August 30, 2009): 20. http://dx.doi.org/10.17851/1982-0739.14.0.20-26.

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A partir da conferência de Jacques Derrida, intitulada Artaud le Moma (1996), este texto pretende abordar a relação entre o tema do nome, do apelido de Artaud (“Artaud le Mômo” e suas diversas significações) e a temática do museu, da exposição das obras de Antonin Artaud no Museum of Modern Art de New York.

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23

Gotman, Kélina. "Exceptionalism, Schizophrenia, Artaud: On Judgment." Performance Philosophy 1, no. 1 (April 10, 2015): 119. http://dx.doi.org/10.21476/pp.2015.1121.

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Gilles Deleuze posits that judgment is the crowning principle governing tragedy and modern philosophy at the same time (“Pour en finir avec le jugement,” in Critique et Clinique, 1995). Drawing on Antonin Artaud’s final radio play, Pour en finir avec le jugement de dieu [To Be Done with the Judgment of God], Deleuze argues that Artaud, like D.H. Lawrence, Kafka and Nietzsche, suffered from the judgment of others inasmuch as he was individuated; his body was made to have organs – in other words, to suffer a hierarchy between brain, stomach, anus, etc. – even though he saw himself as utterly porous, without differentiation and without hierarchy. Returning to the concept of judgment and to Artaud’s final years, this paper offers a schizoanalytic reading of this tragedy of individuation, to ask whether Artaud’s theatre of cruelty – finally manifest in Pour en finir avec le jugement de dieu – can be read as a performance philosophical act without drama and without philosophy. In other words, it asks whether we might conceive of the pure drama of disindividuation – Artaud’s vision of a porous, horizontal self – eschewing the very philosophical and dramatic acts imputed to it.

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24

Savarese, Nicola. "1931 Antonin Artaud Sees Balinese Theatre at the Paris Colonial ExpositionI." TDR/The Drama Review 45, no. 3 (September 2001): 51–77. http://dx.doi.org/10.1162/10542040152587114.

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What did Artaud “really see” at the 1931 Paris Colonial Exposition? The French visionary's response to the Exposition's Balinese dancers has had a huge influence on European and American theatre and performance art. Savarese describes the Exposition and then traces in detail the Balinese program and Artaud's reaction to it.

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25

Tjahyadi, Indra, and Deny Tri Aryanti. "CRITICAL ANALYSIS OF THE THEATER PARADIGM ANTONIN ARTAUD." GETER : Jurnal Seni Drama, Tari dan Musik 5, no. 2 (October 31, 2022): 39–51. http://dx.doi.org/10.26740/geter.v5n2.p39-51.

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This study focuses on the theater paradigm contained in the thinking of Antonin Artaud. The approach used in this study is a critical approach. This is because the critical approach has relevance to the objectives of this study. The method used in this research is the literature study method. Based on the analysis, it was found that in Artaud's theater paradigm there are six important concepts that must be understood, namely: 1) theater as a pandemic, 2) theater as a twin of reality, 3) theater poetry, 4) cruel theater as a performance method, and 5) theater as a human purification medium. According to Grotowski, these concepts make Artaud's theater paradigm a paradigm that is beyond the limits of human rationality. Grotowski called Artaud's theater paradigm a "theater magic". Meanwhile, Brook criticizes Artaud's understanding of theater as something mystical. Therefore, Brook calls Artaud's theater paradigm as "sacred theater" which can make theater fall on the understanding of spirituality.

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26

Baranova, Jūratė. "Antoninas Artaud ir Gilles’io Deleuze’o modernaus kino filosofija." Problemos 86 (January 1, 2014): 83–97. http://dx.doi.org/10.15388/problemos.2014.0.3953.

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Straipsnis skiriamas prancūzų aktoriaus, poeto, scenaristo, žiaurumo teatro idėjos autoriaus Antonino Artaud (1898–1948) idėjų pėdsakų šifravimui Gilles’io Deleuze’o (1925–1995) kino filosofijoje. Straipsnyje keliami klausimai: kuo Artaud idėjų traktuotė antrajame knygos „Kinas“ tome „Vaizdinys-laikas“ skiriasi nuo čia pat aptariamų rusų režisieriaus Sergejaus Eisensteino idėjų įtakos? Kaip modernaus kino filosofijoje veikia Deleuze’ui svarbi Artaud mintis apie pamatinę minties bejėgystę, įkūnytą pačioje mintyje? Ar iš Artaud pasiskolintas „kūno be organų“ konceptas išveda į kasdienį ir ceremonijų kūną, apie kurį rašo Deleuze’as kaip apie modernaus kino ženklą? Straipsnyje prieinama prie išvados, kad visgi galima išskirti dvi Deleuze’o iš Artaud perimtas kūno traktuotes: iki-šizofrenišką pozų ir gestų kūną, kuris sudaro pamatinę „žiaurumo teatro“ konceptualinę šerdį ir kuria remiasi Deleuze’as, rašydamas apie modernaus kino tapsmą, bei šizofrenišką „kūną be organų“, kuris turėjo įtakos Deleuze’o ir Guattari tyrimams. Pamatinė straipsnyje ginama tezė: tiriant teorines įtakas Deleuze’o modernaus kino filosofijai, neįmanoma apeiti ir nepastebėti Artaud.

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27

Fatenkov, A. N. "In the Vicinity of Incarnated Nothingness: Antonin Artaud and His Metaphysical Dominant." Russian Journal of Philosophical Sciences, no. 9 (December 20, 2018): 110–28. http://dx.doi.org/10.30727/0235-1188-2018-9-110-128.

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The article considers the authentic and extreme forms of metaphysics. Antonin Artaud’s personality is at the center of attention. The author endeavors to verbally explicate his metaphysics, which is not strictly verbal. The explication of Artaud’s modern metaphysics is carried out in comparison with the triad of the “ancient modernist” Gorgias. The role of nothingness and the ambivalent attitude of contemporary metaphysicians to Artaud are examined. In the author’s opinion, the position of A. Artaud can be expressed in the following theses: 1) nothingness is the speculative side of the border (between two somethings) that does not unite but separates the being; 2) the incarnation of nothingness is fraught with both an irrevocable fall into nihilism and an annihilation of nothingness; 3) during the incarnation-annihilation of nothingness, the disunity of being is ousted and its fullness is reached; 4) the sought-after fullness is different from amorphous totality and from law-abiding structuredness; 5) anarchic, in some sense, fullness of being demands a unique language which is free from repressive unification. Understanding the experience of Antonin Artaud allows to answer the questions: “What it means to be a metaphysician? Who is he, a metaphysician? What is he like?” He is the one who emphatically appeals to the flesh (both present and becoming, naturally transforming); who, moreover, is not limited to the physical as well as is not alienated from it for the sake of the technical; who does not deny the role of praxis but subordinates it to poiesis; who does not seclude himself in verbal being but appeals to being as such, to its boundaries and limits.

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Pavićević, Jovana. "Artoovo pozorište surovosti i njegovo nasleđe." Issues in Ethnology and Anthropology 11, no. 4 (January 2, 2017): 1153. http://dx.doi.org/10.21301/eap.v11i4.11.

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Antonin Artaud (1896–1948) is considered to be one of the most influential theatre practitioners in the 20th century although his theory has been deemed too abstruse. The aim of this paper is to offer a systematic account of Antonin Artaud’s concepts for his Theatre of Cruelty and the ways it influenced subsequent theatre practitioners, namely Peter Brook, Jerzy Grotowski and Eugenio Barba.

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Dionizio, Mayara. "Unidade ou diferença: entre o corpo derridiano e a poesia blanchotian." Griot : Revista de Filosofia 19, no. 2 (June 13, 2019): 154–70. http://dx.doi.org/10.31977/grirfi.v19i2.1184.

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O presente artigo explora a divergência interpretativa entre as leituras de Jacques Derrida e Maurice Blanchot a respeito da obra de Antonin Artaud. A obra de Artaud demonstra a problemática acerca do processo da escrita como lugar de ausência, ou seja, a relação decalcada entre o pensamento e sua representação na linguagem falada e escrita. Para Blanchot, a questão sobre o impoder, inerente ao processo da escrita, é experienciada por Artaud como porvir da obra literária/poética, tais quais as obras de outros autores. Nesse sentido, além de fazer de sua obra o lugar de fala sobre o vazio da própria linguagem, Artaud, para Blanchot, também fundamenta sua busca pela totalidade representativa como um problema essencialmente poético. Em contraposição, Derrida aponta que a compreensão blanchotiana de Artaud, a fim de teorizar o ser da escrita, reduz a singularidade e a unicidade da obra artaudiana comparando-a com as obras de outros autores. Nesse contexto, cria-se um paradoxo em relação à obra de Artaud: Derrida afirma a singularidade da obra artaudiana e o teatro como fundamento para uma ressignificação metafísica da linguagem; Blanchot defende que o problema de Artaud é um problema poético/literário, uma vez que a busca por uma expressão total se estende a todos os momentos da obra de artaudiana, inclusive, a teatral.

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Castella-Martinez, Sergi. "La purification ardente et l’échec. Antonin Artaud lu par Josep Palau i Fabre." Cahiers ERTA, no. 33 (March 31, 2023): 69–93. http://dx.doi.org/10.4467/23538953ce.23.003.17565.

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Fiery Purification and Failure: Antonin Artaud read by Josep Palau i Fabre Antonin Artaud’s « Théâtre de la cruauté » consists in the extreme display of the conflictive nature of the world. The Catalan poet Josep Palau i Fabre highlighted the poetic and negative dimensions of Artaud’s project and insisted on its failure, addressing its impossible objectivation and its similarity with alchemy. The article aims to identify the central elements of Palau’s interpretation, annihilation and debirth, and to assess their inscription in an experimental poetics proposal inspired by alchemy.

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Tomiche, Anne. "Artaud-Deleuze-Derrida." Les Temps Modernes 687-688, no. 1 (2016): 152. http://dx.doi.org/10.3917/ltm.687.0152.

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Hocquenghem, Joani. "Artaud au Mexique." Chimères 25, no. 1 (1995): 161–72. http://dx.doi.org/10.3406/chime.1995.2009.

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De Vos, Jozef. "Shakespeare en Artaud." Documenta 10, no. 1 (April 21, 2019): 70–82. http://dx.doi.org/10.21825/doc.v10i1.10822.

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Crombez, Thomas. "Artaud over catharsis." Documenta 24, no. 3-4 (March 28, 2019): 151–71. http://dx.doi.org/10.21825/doc.v24i3-4.10410.

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Van Den Dries, Luk. "Artaud and Fabre." Documenta 28, no. 1 (April 1, 2019): 36–47. http://dx.doi.org/10.21825/doc.v28i1.10528.

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36

Carson, Anne. "TV Men: Artaud." Iowa Review 26, no. 2 (July 1996): 29–30. http://dx.doi.org/10.17077/0021-065x.4582.

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Barthes, Roland. "Artaud: Schreibweise / Figur." Zeitschrift für Kulturphilosophie 2017, no. 1 (2017): 231–34. http://dx.doi.org/10.28937/1000107707.

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Erdély Perovics, Andrea. "Artaud önarcképeinek kegyetlensége." Theatron 17, no. 2 (2023): 86–90. http://dx.doi.org/10.55502/the.2023.2.86.

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Hocquenghem, Joani. "Artaud au Mexique." Chimères N° 25, no. 2 (April 1, 1995): 161–72. http://dx.doi.org/10.3917/chime.025.0161.

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Pellion, Frédéric. "Artaud non binaire ?" Champ lacanien N° 27, no. 1 (November 17, 2023): 125–28. http://dx.doi.org/10.3917/chla.027.0125.

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Giarda, Alessandro. "Antonin Artaud, Artaud le Mômo, Ci-gît e altre poesie." Studi Francesi, no. 146 (XLIX | II) (November 1, 2005): 449. http://dx.doi.org/10.4000/studifrancesi.35157.

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Foucault, Didier. "Danchin Laurent et Roumieux André, Artaud et l’asile ; Artaud Antonin,." Histoire, médecine et santé, no. 11 (July 15, 2017): 159–63. http://dx.doi.org/10.4000/hms.1130.

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Bedere, Serge. "As tentativas extremas de Antonin Artaud de recobrar o nome sob a letra." Ágora: Estudos em Teoria Psicanalítica 10, no. 1 (June 2007): 9–34. http://dx.doi.org/10.1590/s1516-14982007000100001.

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Após longo período marcado por uma convicção delirante concernente ao nome - Antonin Artaud teria morrido e Antonin Nalpas teria se apoderado de seu corpo - Artaud recobra o uso de seu nome. Considera-se aqui a retomada, por Artaud, de seu nome e suas articulações com a volta à escrita, a transferência com Gaston Ferdière e o trabalho sobre a letra por meio da tradução do Jabberwocky, de Lewis Carrol.

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Da Conceição, Gilmar Henrique, and Ana Carolina Acom. "Antonin Artaud: pour en finir avec le jugement de Dieu, e Artaud contra o juízo dos psiquiatras." Revista DIAPHONÍA 2, no. 1 (January 1, 2000): 60–92. http://dx.doi.org/10.48075/rd.v2i1.14639.

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Neste artigo apresentaremos Artaud, cujo combate ‘para pôr fim ao julgamento de Deus’, se traduz também contra o juízo dos psiquiatras, mas não só a ele. Segundo Deleuze, Artaud queria acabar de vez com o universo do “juízo”, descobrir um novo continente. Será através de sua “escrita de sangue” e desenvolvimento do sistema da crueldade que Artaud inverte qualquer subjugo moral ou outras amarras que impeçam o pensamento de pensar. Conforme Artaud, o teatro da crueldade reflete as condições da sociedade e as suas mazelas, dentro de um panorama de total controle do corpo, as diferentes formas de repressão social expressas no corpo. Montaigne, um dos pioneiros a entender a crueldade como algo próprio do ser humano, argumenta que temos uma propensão para a crueldade. Assim, Montaigne chama atenção para o fato de que o prazer da crueldade é inerente às pessoas. Em Artaud, o teatro da crueldade, propõe mudanças na atuação, na estruturação das peças, bem como na relação do teatro com o público, buscando perturbar os repousos dos sentidos para trazer a revelação, a afirmação e – mediante golpes profundos – fazer vazar todos os abscessos coletivamente.

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Dionizio, Mayara Joice. "A NEGAÇÃO DA OBRA: DERRIDA E LEITOR DE ARTAUD." Kriterion: Revista de Filosofia 59, no. 139 (January 2018): 215–33. http://dx.doi.org/10.1590/0100-512x2017n13911mjd.

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RESUMO Em “A escritura e diferença”, Derrida apresenta uma crítica à interpretação de Blanchot sobre Artaud, sob o título “A palavra soprada”, na qual ressalta que a leitura blanchotiana foi tendenciosa. Seu incômodo se dá primeiramente pela comparação que Blanchot faz de Hölderlin e Artaud, por serem poetas que experimentaram a exigência poética e, por isso, tiveram suas obras interpretadas por um reducionismo da Psiquiatria. Para Derrida, esse duplo interpretativo, clínico e crítico, é decorrente de uma separação dualista há muito presente, uma diferença constitutiva da metafísica que gera todas as separações, inclusive a condição de comentário da clínica e da crítica. Assim, o que é exposto por Derrida é a deflagração de uma estrutura metafísica que suporta esses dualismos. O modo como Artaud percebeu esse limite de realização na escrita é o que Derrida tenta reconhecer como uma efração estrutural da diferença que há no nosso modo de se relacionar com a obra. Derrida refaz o caminho da obra de Artaud para mostrar como poderíamos superar essa ausência que acontece na relação do artista com a obra, do corpo e do espírito. E, por fim, demonstra a partir do próprio Artaud o reducionismo feito também por Blanchot.

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Costa, Renata de Pina. "A Concha e o Clérigo: aproximações e divergências entre Antonin Artaud e o Surrealismo." Anagrama 3, no. 4 (March 29, 2010): 1–10. http://dx.doi.org/10.11606/issn.1982-1689.anagrama.2010.35459.

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O presente ensaio pretende fornecer um panorama do movimento surrealista com o objetivo de verificar algumas aproximações destas idéias com a teoria de Antonin Artaud. Após isso, será feita uma análise do filme A concha e o clérigo que é considerado o primeiro filme surrealista. O argumento e a cenografia são de Artaud e é com base nesse filme que o ensaio pretende apontar algumas idéias artaudianas sobre a sétima arte. Por ultimo, será feita a relação entre o cinema e o teatro de Artaud tendo com base o livro O teatro e seu duplo

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Leal, Izabela, and Marcelo Jacques de Moraes. "Edgar Poe em tradução: Mallarmé, Artaud, Herberto Helder." Remate de Males 35, no. 1 (April 22, 2015): 177. http://dx.doi.org/10.20396/remate.v35i1.8641512.

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Este artigo se debruça sobre três traduções do poema “Israfel”, de Edgar Allan Poe: a de Mallarmé, a de Artaud e a de Herberto Helder. Assim como o poema de Poe antecipa em versos as considerações sobre poesia que ele irá formular no ensaio “O princípio poético”, as traduções também funcionam de algum modo como enunciação da poética dos autores em questão. Cabe assinalar os procedimentos tradutórios de cada um dos poetas, ressaltando o sentido da musicalidade para Mallarmé, a tradução transgressora de Artaud e a tradução da tradução, a partir da versão de Artaud, feita por Herberto Helder.

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Gomes Mendonça, Tânia. "NO PAÍS DOS TARAHUMARAS. Antonin Artaud no México dos anos 1930." Olhares 4, no. 1 (May 5, 2017): 72–78. http://dx.doi.org/10.59418/olhares.v4i1.70.

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Este artigo pretende lançar luz à visita do artista francês Antonin Artaud à terra dos índios tarahumaras, em 1936, no México. O texto encontra-se mais ligado ao âmbito historiográfico do que ao biográfico, uma vez que parte de uma análise histórica da viagem de Artaud a este país. O artigo procura relacionar as reflexões de Artaud aqui analisadas à sua concepção de teatro no mesmo período. Busca-se também questionar, no texto, as contradições do autor ao relatar a sua viagem à terra indígena, assim como apresentá-lo como um sujeito integrado às discussões artísticas de seu tempo histórico.

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Harel, Simon. "Poétique gravitationnelle. Artaud véloce." Caietele Echinox 38 (June 30, 2020): 31–45. http://dx.doi.org/10.24193/cechinox.2020.38.02.

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Isn’t Earth the matrix of the human species, in all of its creations and re-creations? This “essay-fiction” offers a reflection on the concept of planetarity. It sparks a debate on the aftermath of economic globalism and commercial borders (free trade treaties, the return of bilateralism during the Trump era among several other questions). The evocation of the oeuvres of Antonin Artaud and Arthur Rimbaud allows us to describe what is gravitational poetics, where the texts seem to feel the power of terrestrial attraction. The planetary humanity raises the question of the uniqueness of the human subject, following the abolition of all physical frontiers.

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Verheggen, Jean-Pierre. "Artaud, le grand nègre." Les Temps Modernes 687-688, no. 1 (2016): 17. http://dx.doi.org/10.3917/ltm.687.0017.

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