Gotowe bibliografie tematyczne / Artaud

Gotowa bibliografia na temat „Artaud”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "Artaud"

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Jannarone, Kimberly. "The Theatre before Its Double: Artaud Directs in the Alfred Jarry Theatre". Theatre Survey 46, nr 2 (25.10.2005): 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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Kluber, Warren. "Artaud’s Surgical Theatre: War, Medicine, and Regeneration". Modern Drama 65, nr 1 (1.03.2022): 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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Caygill, Howard. "Artaud-Immunity: Derrida and the Mômo". Derrida Today 8, nr 2 (listopad 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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Corral Fulla, Anna. "Antonin Artaud sur la scène espagnole (1969-2016)". Anales de Filología Francesa 27, nr 1 (15.11.2019): 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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Nieto Sánchez, Varinia. "El sueño moderno de devenir Otro: tras los pasos de Artaud en la Sierra Tarahumara". Literatura Mexicana 31, nr 2 (8.05.2020): 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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Shaw, Jon K. "Athleticism Is Not Joy: Extricating Artaud from Deleuze's Spinoza". Deleuze Studies 10, nr 2 (maj 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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Slote, Sam. "Namelessness from Artaud to Beckett". Samuel Beckett Today / Aujourd’hui 31, nr 1 (11.04.2019): 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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Shaw, Jon K. "The Life of an Idiot: Artaud and the Dogmatic Image of Thought after Deleuze". Theory, Culture & Society 33, nr 7-8 (9.07.2016): 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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Fatemeh Sadat Basirizadeh, Narges Raoufzadeh i 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, nr 1 (30.03.2022): 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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CURTIN, ADRIAN. "Cruel Vibrations: Sounding Out Antonin Artaud's Production of Les Cenci". Theatre Research International 35, nr 3 (październik 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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Rozprawy doktorskie na temat "Artaud"

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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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Made available in DSpace on 2014-12-17T14:19:59Z (GMT). No. of bitstreams: 1 MaisyMF_DISSERT.pdf: 1608819 bytes, checksum: a0eb38caacba9b7d135075612c3f864e (MD5) Previous issue date: 2010-06-09
Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
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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Książki na temat "Artaud"

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Grubišić, Vinko. Artaud. Zagreb: Hrvatski centar ITI-UNESCO, 2000.

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Dumoulié, Camille. Antonin Artaud. [Paris]: Seuil, 1996.

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Murray, Ros. Antonin Artaud. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137310583.

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Kolankiewicz, Leszek. Święty Artaud. Warszawa: Państwowy Instytut Wydawniczy, 1988.

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Levêque, Jean-Jacques. Antonin Artaud. Paris: Veyrier, 1985.

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Bianu, Zéno. Variations Artaud. Liancourt: Dumerchez, 2009.

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Guillaume, Fau, i Bibliothèque nationale (France), red. Antonin Artaud. [Paris]: Bibliothèque nationale de France, 2006.

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éd, Penot-Lacassagne Olivier, red. Antonin Artaud. Paris ; Caen: Lettres modernes Minard, 2001.

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Olivier, Penot-Lacassagne, red. Antonin Artaud. Paris: Lettres Modernes, 2005.

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Verheggen, Jean-Pierre. Artaud Rimbur. Paris: Editions de la Différence, 1990.

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Części książek na temat "Artaud"

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O'Brien, Nick, Annie Sutton i Mikhaela Mahony. "Artaud". W Theatre in Practice, 84–114. Wyd. 3. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003361121-5.

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Wild, Gerhard. "Artaud, Antonin". W Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2465-1.

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Sidiropoulou, Avra. "Enter Artaud". W Authoring Performance, 33–50. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9781137001788_3.

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Mors, Barbara. "Antonin Artaud". W Kindler Kompakt Französische Literatur 20. Jahrhundert, 70–73. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05533-0_9.

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Murray, Ros. "Introduction". W Antonin Artaud, 1–9. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137310583_1.

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Murray, Ros. "The Limits of Representation". W Antonin Artaud, 10–35. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137310583_2.

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Murray, Ros. "Through the Digestive System". W Antonin Artaud, 36–57. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137310583_3.

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Murray, Ros. "Theatre, Magic and Mimesis". W Antonin Artaud, 58–86. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137310583_4.

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Murray, Ros. "Artaud on Film". W Antonin Artaud, 87–116. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137310583_5.

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Murray, Ros. "Artaud on Paper". W Antonin Artaud, 117–39. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137310583_6.

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Streszczenia konferencji na temat "Artaud"

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Machado, Rogerio Marcondes. "Teatro oficina: patrimônio, ativismo urbano e Artaud". W Encontro da História da Arte. Universidade Estadual de Campinas, 2018. http://dx.doi.org/10.20396/eha.13.2018.4595.

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Por duas vezes, no Condephaat (órgão do Estado de São Paulo para preservação patrimonial) e, depois, no Iphan (órgão federal para preservação patrimonial), José Celso Martinez Corrêa, diretor do Teatro Oficina, solicitou o tombamento de sua sede para que a atividade artística do grupo pudesse ter continuidade. O que motivou esses processos foram os conflitos entre o Oficina e o Grupo Silvio Santos, proprietário dos terrenos em torno do teatro. Em 1997, quando se iniciava o segundo conflito, José Celso define o Teatro Oficina como “uma arquitetura específica, cercada por uma empresa de televisão, e onde se batalha dentro de certa qualidade estética” e prossegue: “O teatro passa a ser civilizador, como dizia Artaud” materializando “uma réplica à ordem liberal na sua geografia urbana, no seu estilo de interpretação, no seu repertório”, buscando “demonstrar que o teatro tem poder, que o homem pode mexer com as engrenagens”.
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Cermakian, Stéphane. "(D)écrire l’impossibilité d’écrire : la correspondance Artaud/Rivière". W Les écrivains théoriciens de la littérature (1920-1945). Fabula, 2013. http://dx.doi.org/10.58282/colloques.1831.

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DIAS, luciana da costa. "Nietzsche, Artaud e a Performance: provocações em direção a uma Fenomenologia da Performance." W Memória ABRACE XVI - Anais do IX Congresso da Associação Brasileira de Pesquisa e Pós-Graduação em Artes Cênicas. Recife, Brasil: Even3, 2017. http://dx.doi.org/10.29327/14094.1-5.

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Bailey, Erin. "Deleuze, Artaud, and the Bard: Envisioning a Shakespearean Theater Education Yet to Come". W 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1443134.

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Collot, Michel. "Faire corps avec le paysage". W Paysages & valeurs : de la représentation à la simulation. Limoges: Université de Limoges, 2008. http://dx.doi.org/10.25965/as.3464.

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Pour beaucoup de pratiques artistiques et poétiques contemporaines, le paysage est lié à un état du corps autant qu’à un état de l’âme. Cette incarnation du paysage correspond à l’importance croissante du rôle reconnu et dévolu au corps dans l’art et la littérature contemporaines. Mais cette valorisation de l’expression corporelle peut s’orienter selon deux directions divergentes. La poésie contemporaine peut faire ainsi du corps l'instrument d'une rupture avec l'idéalisme supposé de la tradition poétique et dresse le corps contre l'esprit ; valorisant l’in-sensé et l’im-monde, elle fait alors un usage critique et ironique du paysage. Mais elle peut aussi faire du corps un carrefour entre la matière et l'esprit, le sujet et le monde ; elle trouve alors dans le paysage un lieu privilégié où renouer l’unité du sens et du sensible. C’est cette seconde tendance, qui vise à faire corps avec le paysage, que M. Collot éclaire à l’aide de la phénoménologie et illustre d’exemples empruntés notamment à Valéry, Artaud et Gaspar.
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Maldonado, Victoria. "Hilos, membranas y viscelaridad: los ecos de la informidad en el arte textil contemporáneo". W VI Congreso Internacional de Investigación en Artes Visuales ANIAV 2024. València: Editorial Universitat Politècnica de València, 2024. http://dx.doi.org/10.4995/aniav2024.2024.18028.

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El “eco” —tal y como nos muestra la física y nos define la RAE― es una onda electromagnética reflejada de tal modo que se percibe como distinta de la originalmente emitida. Si esta onda se tratara de Bataille hablando de lo informe o el poeta Artaud sobre la visceralidad, resultaría sorprendente cómo ha llegado a empapar este eco en algunas artistas contemporáneas que focalizan sus producciones artísticas en la escultura textil. Desde Dominique White y sus obras pertenecientes a la serie “Una especie de estela inquietante” (2019) donde un cuerpo de hilos se suspende por unos ganchos de acero galvanizado hasta Mercedes Azpilicueta en su proyecto “El viejo sueño de la simetría” (2019) a través del cual la artista hace un ejercicio de apropiación de la obra “Judith matando a Holofernes” (1614-1620) de la pintora barroca Artemisia Gentileschi, en la cual Azpilicueta deconstruye la cabeza amputada de Holofermes en una escultura informe de seda. En la presente investigación teórico práctica “Hilos, membranas y visceralidad: los ecos de la informidad en el arte textil” nos disponemos a extraer un fragmento del periplo de la onda electromagnética del eco entendido como lo “informe” y “abyecto”, así como su recepción en las nuevas metodologías del arte textil contemporáneo.
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Szafir, Daniel, i Bilge Mutlu. "ARTFul". W CHI '13: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2013. http://dx.doi.org/10.1145/2470654.2466128.

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Simal, Stephane. "Arthur". W ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281805.

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Bratitsis, Tharrenos, Ioanna Tsolopani i Michalis Ioannou. "Artful Leadership". W DSAI 2018: 8th International Conference on Software Development and Technologies for Enhancing Accessibility and Fighting Info-exclusion. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3218585.3218687.

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Grant, Raymond. "Arthur Montgomery". W 40th Annual New Mexico Mineral Symposium. Socorro, NM: New Mexico Bureau of Geology and Mineral Resources, 2019. http://dx.doi.org/10.58799/nmms-2019.562.

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Raporty organizacyjne na temat "Artaud"

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Buck, Steve, Andrew Jacobs, Katrina Rogus i Sara Pevaroff Schuh. Chester Arthur Schoolyard. Landscape Architecture Foundation, 2017. http://dx.doi.org/10.31353/cs1320.

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Wells, Barton S., i Frederick L. Beckner. ARTUS Preliminary Development. Fort Belvoir, VA: Defense Technical Information Center, styczeń 2000. http://dx.doi.org/10.21236/ada372326.

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Cameron, P., R. Connolly, A. Drees, T. Ryan, H. Schmickler, T. Shea i D. Trbojevic. ARTUS: A Rhic TUne monitor System. Office of Scientific and Technical Information (OSTI), lipiec 1998. http://dx.doi.org/10.2172/1119546.

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Reis, Ademar Arthur Chioro dos, Rosemarie Andreazza, Lumena Almeida Castro Furtado, Eliane Cardoso de Araújo, Ana Lucia Pereira i Nicanor Rodrigues da Silva Pinto. Relatório Técnico-Científico Final: Enfrentamento da pandemia de COVID-19: produções, invenções e desafios na gestão do cuidado em rede. Universidade Federal de São Paulo, marzec 2023. http://dx.doi.org/10.34024/11600/relatorio2023.1.

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Relatório final de projeto de pesquisa: Enfrentamento da pandemia de COVID-19: produções, invenções e desafios na gestão do cuidado em rede. Pesquisador responsável: Ademar Arthur Chioro dos Reis Instituição Sede: Universidade Federal de São Paulo (Unifesp) Processo FAPESP: 2020/12096-6 - Modalidade: Auxílio a Projeto de Pesquisa Linha de fomento: Acordos de Cooperação / PPSUS 2015 – PPSUS 2020 – PPP Período da Vigência: 01/03/2021 a 28/02/2023 (12 meses) Período coberto pelo Relatório Técnico-Científico Final: 28/02/2022 a 28/02/2023 (12 meses)
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Webb, Dennis W. Navigation Study for Arthur Kill 50-ft Channel Improvements, New York Harbor. Fort Belvoir, VA: Defense Technical Information Center, lipiec 2004. http://dx.doi.org/10.21236/ada426317.

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Storesletten, Kjetil, Bo Zhao i Fabrizio Zilibotti. Business Cycle during Structural Change: Arthur Lewis' Theory from a Neoclassical Perspective. Cambridge, MA: National Bureau of Economic Research, sierpień 2019. http://dx.doi.org/10.3386/w26181.

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Maynord, Stephen T. Ship Effects Before and After Deepening of Sabine-Neches Waterway, Port Arthur, Texas. Fort Belvoir, VA: Defense Technical Information Center, wrzesień 2003. http://dx.doi.org/10.21236/ada417939.

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Gregory, William A. From Beirut to Port Arthur: Field Artillery Doctrine and Practice in Low Intensity Conflict. Fort Belvoir, VA: Defense Technical Information Center, listopad 1990. http://dx.doi.org/10.21236/ada233629.

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Earley, Jeffrey R. Executive Summary: Senior Officer Oral History Program Interview of Lieutenant General (Retired) Arthur J. Gregg. Fort Belvoir, VA: Defense Technical Information Center, kwiecień 1997. http://dx.doi.org/10.21236/ada326595.

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Gruendell, B. D., E. S. Barrows i A. B. Borde. Evaluation of dredged material proposed for ocean disposal from Arthur Kill Project Area, New York. Office of Scientific and Technical Information (OSTI), styczeń 1997. http://dx.doi.org/10.2172/477699.

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