By Artaud, Antonin; Jannarone, Kimberly; Artaud, Antonin
Artaud and His Doubles is an intensive re-thinking of 1 of the main influential theater figures of the 20 th century. putting Artaud's writing in the particular context of ecu political, theatrical, and highbrow background, the publication finds Artaud's affinities with a annoying array of anti-intellectual and reactionary writers and artists whose ranks swelled catastrophically among the wars in Western Europe.
Kimberly Jannarone exhibits that Artaud's paintings unearths units of doubles: one, a physique of chiefly power got interpretations from the yank experimental theater and French post-structuralist readings of the Sixties; and, , a darker set of doubles—those of Artaud's contemporaries who, within the tumultuous, alienated, and pessimistic surroundings enveloping a lot of Europe after global battle I, denounced the degradation of civilization, yearned for cosmic purification, and known as for an ecstatic lack of the self. Artaud and His Doubles will generate provocative new discussions approximately Artaud and essentially problem the best way we glance at his paintings and ideas.
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Extra resources for Artaud and his doubles
S. radicals adopted “Artaud” for body politics, the French for language politics. The problems of writing and representation find fertile ground in the ten thousand pages of Artaud’s struggle. The endless paradoxes of Artaud—his irresolvable conflicts, his stream of eternal tensions—serve as ideal foundations for theories of resistance. The Rivière correspondence established how Artaud’s suffering both blocked his creativity and fed it; how his psychological torment both constituted his work and prevented it; how his life was his art, which was an attempt to live his life.
After a detailed look at The Theater and Its Double’s first chapter, we can situate the book in its true context in cultural and intellectual history. Read against the backdrop of World War I and alongside contemporary strains of milleniarism, ecstatic images of degeneration and purification, and fantasies of orchestrated broad-scale devastation, this, Artaud’s most famous work, clearly establishes a far more troubling vision—of the world and for the theater—than has generally been assumed. Nouveau mal du siècle The Theater and Its Double begins as any avant-garde manifesto might: with a call to sweep away existing systems, artistic as well as social.
Freedom, here, is found through loss and immersion rather than individual liberty and self-realization. This dynamic combines with Artaud’s dark, mystical worldview to create a very distinct kind of freedom. Freedom for the Theater of Cruelty takes the form not, as we will see, of empowerment or peace, but of an ongoing experience of convulsive, ecstatic misery. Section III, “Visions of Power,” contextualizes Artaud’s ideal director in terms of the phenomenon of the rapid rise of the theater director, from approximately the 1850s to its entrenchment by the interwar era.