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Shaw, Jonathan Keith. "Subjectility : on reading Artaud". Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/21004/.
Pełny tekst źródłaHansalová, 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.
Pełny tekst źródłaBonnefoy, Brigitte. "Antonin Artaud : des contraires". Aix-Marseille 1, 1985. http://www.theses.fr/1985AIX1A007.
Pełny tekst źródłaBonnefoy, Brigitte. "Antonin Artaud : des contraires". Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375945054.
Pełny tekst źródłaBauer, Renate. "Antonin Artaud - Alchemie der Materie". [S.l. : s.n.], 1998. http://www.diss.fu-berlin.de/2000/100/index.html.
Pełny tekst źródłaAlmeida, 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.
Pełny tekst źródłaA 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.
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.
Pełny tekst źródłaCardoso, 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.
Pełny tekst źródłaAo 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.
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.
Pełny tekst źródłaFreitas, 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.
Pełny tekst źródłaCoordena??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
Silveira, Lage André. "Antonin Artaud : le corps et le langage". Paris 8, 2004. http://www.theses.fr/2004PA082410.
Pełny tekst źródłaDumoulié, Camille. "Nietzsche et artaud, penseurs de la cruaute". Paris 4, 1989. http://www.theses.fr/1989PA040040.
Pełny tekst źródłaThrough 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
Belhaj, Laïla. "Antonin Artaud et la notion de sacré". Paris 1, 1995. http://www.theses.fr/1995PA010587.
Pełny tekst źródłaMan'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
Arai, Kiyoshi. "Le problème de l'expression chez Antonin Artaud". Paris 4, 2003. http://www.theses.fr/2002PA040177.
Pełny tekst źródłaAfter 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"
Dubreuil, Laurent. "Lectures de la possession : Maupassant, Artaud, Blanchot". Bordeaux 3, 2001. http://www.theses.fr/2001BOR30056.
Pełny tekst źródłaRésumé :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
Delloye, Bernadette Zrim Mme. "Antonin Artaud, les psychiatres et l'institution psychiatrique". Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375952522.
Pełny tekst źródłaOliveira, Thiago Ranniery Moreira de. "Currículo-teatro: uma cartografia com Antonin Artaud". Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/BUOS-966JYU.
Pełny tekst źródłaUm 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.
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.
Pełny tekst źródłaCorbyn, 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.
Pełny tekst źródłaBouillon, Anne. "Gilles Deleuze et Antonin Artaud : L'impossibilité de penser". Thesis, Poitiers, 2013. http://www.theses.fr/2013POIT5005.
Pełny tekst źródłaIn 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
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.
Pełny tekst źródłaCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
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
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.
Pełny tekst źródłaAntonin 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
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.
Duménil, Lorraine. "L'agir poétique chez Antonin Artaud et Henri Michaux". Paris 7, 2011. http://www.theses.fr/2011PA070098.
Pełny tekst źródłaUnder 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
Vidieu-Larrère, Francine. "Lecture de l'imaginaire des oeuvres dernières d'Antonin Artaud". Chambéry, 1994. http://www.theses.fr/1994CHAML001.
Pełny tekst źródłaThe 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
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.
Pełny tekst źródłaThe 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.
Vilela, Glenio Araujo. "A escrita labiríntica e performática de Antonin Artaud". Universidade Federal de Minas Gerais, 2013. http://hdl.handle.net/1843/ECAP-95DJ34.
Pełny tekst źródłaEsta 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.
Verzini, Barbara. "Las herencias filosóficas de Artaud: El teatro de reanimación". Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/134059.
Pełny tekst źródłaDuring 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.
Morou, Antigone. "Sophocle et Artaud : Pour une représentation contemporaine d'"Ajax"". Paris 3, 1990. http://www.theses.fr/1990PA030097.
Pełny tekst źródłaInfluenced 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
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.
Pełny tekst źródłaThis 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.
Amara, Lucia Maria. "La scène de la Glossalalie dans l'oeuvre d'Antonin Artaud". Paris 7, 2009. http://www.theses.fr/2009PA070039.
Pełny tekst źródłaThe 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
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.
Pełny tekst źródłaThe 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
Kariya, Toshinobu. "Antonin Artaud épistolier : une pratique paradoxale de l’expression du moi". Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20033/document.
Pełny tekst źródłaThe 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)
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.
Pełny tekst źródłaPollock, Jonathan. "Anatomie de l'humour : Antonin Artaud et la littérature anglo américaine". Paris 10, 1999. http://www.theses.fr/1999PA100008.
Pełny tekst źródłaBouthors-Paillart, Catherine. ""Êtredir" sa supplication psychotique : approche de l'énonciation chez Antonin Artaud". Paris 7, 1992. http://www.theses.fr/1992PA070068.
Pełny tekst źródłaThis 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
Tanquerel, Sylvain. "L'invention du coeur dans les Cahiers de Rodez d'Antonin Artaud". Paris 4, 2006. http://www.theses.fr/2005PA040190.
Pełny tekst źródłaThis 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
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.
Pełny tekst źródłaKugler, 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.
Pełny tekst źródłaJosé 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.
Samacher, Jean-Yves Olivier. "Le statut de l'œuvre chez Antonin Artaud et David Nebreda". Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC029/document.
Pełny tekst źródłaWhich 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
Majdalani, Charif. "Les glossolalies d'Artaud". Aix-Marseille 1, 1993. http://www.theses.fr/1993AIX10079.
Pełny tekst źródłaThe 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)
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.
Pełny tekst źródłaSILVA, 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.
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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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.
Harel, Simon. "L'ecriture de la psychose dans les textes de rodez d'antonin artaud". Paris 7, 1986. http://www.theses.fr/1986PA070063.
Pełny tekst źródłaThe 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
Gouttefangeas, Maud. "Au théâtre des pensées. Essais de Péguy, Valéry, Artaud et Michaux". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040045.
Pełny tekst źródłaThere 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
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.
Pełny tekst źródłaBorie, Monique. "Antonin Artaud le théâtre et le retour aux sources, aproche anthropologique /". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376031847.
Pełny tekst źródłaPaula, 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.
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.
Pełny tekst źródła"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.