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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In order to be consequent and harmonious with a cruel world, the work of the artist has to express this cruelty. Allendy sitting there, the public, the young students, his wife, professors, and directors.
Theatre, like some peculiar type of speech act, seems to have transformed the audience: Artaudian cruelty thus imbues completely his understanding of the mask, i. Together they hoped to create a forum for works that would radically change French theatre.
Antonin Artaud – Wikipedia
As a consequence, it seems manifest that the mask that should be abolishedincarnating social conventions is not the same that the mask incarnating theatre that plays an active role in abolishing it. This homage to madness and frenzy has clear echoes of Nietzsche and his Dionysiac force, which is reinterpreted both by Lorca and Artaud: Romeo and Juliet pewte be represented or, more exactly, replaced by any object in a metaphorical operation.
So Europe needs a cure. Cuando los trajes hablan, las personas vivas ya son botones de hueso en las paredes del xrtaud.
Eu, Antonin Artaud
Carta a Pierre Loeb: On the one hand, theatrical revolution consists on a displacement: But in aesthetic terms this implies that the platonic duality between truth and appearance teatto abolished and the imitation is not anymore a degraded secondary object but rather a means to approaching some unfathomable truth: Ivan Silvestre rated it liked it Aug 16, It is yet to be explained why Lorca would refuse to call his heroes for their proper names.
Derrida has detected this tendency in Artaud in which efforts to reform theatre end up making it impossible: As a consequence, most of the thinkers here discussed will have to face the essentialist anxiety of their detractors who ask: If theatre has a healing power —and it has, for Artaud,— it works as the plague.
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 peete.
Particularly generic are the names of Man 1, Man 2 and Man 3. Beside him Allendy looks teatroo, heavy, gray. Columbia University Press, Carta a Peter Watson: Under the masculine mask there is another mask, and then another.
Pedro added it Jun 18, But, how exactly are they supposed to participate?
He made one feel the parched and burning throat, the pains, the fever, the fire in the guts. Everything profound loves the mask; the profoundest things of all hate even image and parable.
Textos presentes no livro: His face is lean, as if ravaged by fevers. This game of double identities will reach its climax in Cuadro Segundo, which I will explain in detail as an example of performative act. It is not the worst things of which one is most ashamed: Afterwards, the proposal of revolutionary violence for overturning this deceptive system has been studied. He was in agony. Why could the world which is of any concern to us— not be a fiction? Womanliness therefore could be assumed and worn as a mask, both to hide the possession of masculinity and to avert the reprisals expected if she was found to possess it —much as a thief will turn out his pockets and ask to be searched to prove that he has not the stolen goods.
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