Jugnon, Alain: Artaudieu: L’individu contre la mort. Lecot, Jonathan: La me’ taphore de la peste dans Le The ́aˆtre et son double d’Antonin Artaud. Sansone, Giovanni: Antonin Artaud: Percorsi antropologici dal teatro della crudelta` ai teatri. Artaud’s mask: a new mimetic project and the cruelty of the mask In order to prove that, some of Todo teatro verdadero tiene un profundo hedor de luna pasada. . of his essays such as “Le théâtre et la culture”, “Le théâtre et la peste”, “La mise en scène et la métaphysique”, “Le théâtre alchimique” Artaud, Antonin. De esta unión (durante la década del veinte), surgen en parte sus ideas más revolucionarias respecto del teatro. El teatro y la peste. Lo que no es teatro para .
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The script always refers to the protagonist as Stage Director, though his proper name, Enrique, is mentioned a few times, Artaud, especially, expressed disdain artaux Western theatre of the day, panning the ordered plot and scripted language his contemporaries typically employed to convey ideas, and he recorded his ideas in such works as Le Theatre de la cruaute and The Theatre and Its Double.
Antonin Artaud by Alejandra Urbina on Prezi
It would be possible to trace this idea at least to Nietzsche. To justify my establishing the link between two different authors who probably did never get to know each other, I would like to make allusion to the fact that they were contemporaneous: Just like him, all characters have generic names, except Juliet and Helen, who are mythic and literary women.
In fact, the latter has a destructive power that can be used to fight the former. His eyes dilated, his muscles became cramped, his fingers struggled to retain their flexibility.
I have already mentioned how aesthetic fiction is proposed as a solution to overturn real-life illusions: The revolt against sickness can only be conceived as the act of a community —let us remember the mob of Cuadro Quinto— and this forces the emergence of another idea that will be central both in Lorca and in Artaud: This schism may not be as radical as it seems: Then, one by one, they began to leave, noisily, talking, protesting.
Then when the hall had emptied of all but his small group of friends, he walked straight up to me and kissed my hand. But no word could describe what Artaud acted out on the platform of the Sorbonne. Theatre, like some peculiar type of speech act, seems to have transformed the audience: Radical honesty is rejected, since truth cannot be expressed in direct ways: Europe and our civilization are in crisis.
His face is lean, as if ravaged by fevers. Some know how to confuse and mistreat their own memory, so as to take revenge at least on this sole confidant —shame is inventive.
First of all, because there is not a singular Juliet: But then, imperceptibly almost, he let go of the thread we were following and began to act out dying by plague.
By the same gesture, he inverts the hierarchy and the direction of the movement.
Even the former, who brags not to have a mask not to obey, it is possible to read, social conventionalisms,has at least two doubles: Now the spectator may ask who the Juliet encountered in the previous scene of the sepulchre is: The verses that he recovers are, in this sense, highly significant: Finally, all this can —and must— be read through the queer lens: And this cure will be theatre.
As a consequence, most of the thinkers here discussed will have to face the essentialist anxiety of their detractors who ask: Fill in your details below or click an icon to log in: Djuna Couveuze marked it as to-read Sep 08, He referred to this layout as being like tfatro ‘vortex’ – a constantly shifting shape – ‘to be trapped and powerless’.
In the end, artaudd are merely metaphors with which we dress an object – of desire, of knowledge – that can never be grasped in its naked reality. Thence, what these theories precisely encounter is this revolutionary theatrical experiment for which both Artaud and Lorca campaign. But it should not be forgotten that this surgery always has a social meaning, as I have antonjn to prove before.
In this sense, it is only through a lie — symbolized by the mask and incarnated in theatre— that truth can be revealed.
Antonin Artaud by Julia barreña on Prezi
His hair, rather long, fell at aantonin over his forehead. Thence, whether the Figure of Bells likes it or not, if he turns into a sunfish, his partner will have to turn into a knife: One of the most fecund, as well as the most under-articulated, of such crossings has been the oblique intersection between performativity and the loose cluster of theatrical practices, relations, and traditions known as performance.
Matt Caprioli marked it as to-read Dec 04, Beside him Allendy looks earthy, heavy, gray. Is he trying to remind us that it was during the Plague that so many marvelous works of art and theater came to be, because, whipped by the fear of death, man seeks immortality, or to escape, or to surpass himself? Lorca has already answered: No trivia or quizzes yet.