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14 de mar. de 2019 · Oeuvres complétes. by. Artaud, Antonin, 1896-1948. Publication date. 1970. Publisher. Paris : Gallimard. Collection. trent_university; internetarchivebooks; inlibrary; printdisabled.
- By Antonin Artaud
- CONTENTS
- PREFACE: The Theater and Culture
- Preface 9
- The Theater and Its Double
- I. The Theater and the Plague
- This inspires certain thoughts.
- Two important observations can be made about this fact.
- Between the victim of the plague who runs in shrieking pursuit of his visions and the actor in pursuit of his feelings;
- With them we proceed from excess to excess and vindication to vindication. Annabella is captured, convicted of adultery
- II. Metaphysics and the Mise en Scene
- The Theater and Its Double
- It is agreed that a beautiful woman has a melodious voice; if, since the world began, we had heard all beautiful women
- III. The Alchemical Theater
- IV. On the Balinese Theater
- V. Oriental and Occidental Theater
- And it is because of the multiplicity of their aspects that they can disturb and charm and continuously excite the mind. It is because the Oriental theater does not deal with the external
- VI. No More Masterpieces
- Shakespeare himself is responsible for this aberration and decline, this disinterested idea of the theater which wishes a theatrical performance to leave the public intact, without
- VII. The Theater and Cruelty
- VIII. The Theater of Cruelty (First Manifesto)
- The Theater and Its Double
- Dear friend,
- On the other hand, the director who takes pains with his set to the detriment of the text is wrong, though perhaps less
- XI. The Theater of Cruelty (Second Manifesto)
- Every popular audience has always loved direct expressions and images; articulate speech, explicit verbal expressions will
- Act One
- Act Two
- Act Three
- Act Four
- XII. An Affective Athleticism
- The Theater and Its Double The Cabala apportions the human breath into six principal arcana, the first of which, called the Great Arcanum, is that of creation:
- NEUTER NEUTER
- XIII. Two Notes
Translated from the French by Mary Caroline Richards _
A Note on the Translation PREFACE: The Theater and Culture I. The Theater and the Plague II. Metaphysics and the Mise en Scene III. The Alchemical Theater IV. On the Balinese Theater V. Oriental and Occidental Theater VI. No More Masterpieces VII. The Theater and Cruelty VIII. The Theater of Cruelty (First Manifesto) .
Never before, when it is life itself that is in question, has there been so much talk of civilization and culture. And there is a curious parallel between this generalized collapse of life at the root of our present demoralization and our concern for a culture which has never been coincident with life, which in fact has been devised to tyrannize ov...
which is responsible for the revenge of things; the poetry which is no longer within us and which we no longer succeed in finding in things suddenly appears on their wrong side: consider the unprecedented number of crimes whose perverse gratuitousness is explained only by our powerlessness to take complete possession of life. If the theater has bee...
A protest against the idea of culture as distinct from life as if there were culture on one side and life on the other, as if true culture were not a refined means of understanding and exercising life. The library at Alexandria can be burnt down. There are forces above and beyond papyrus: we may temporarily be deprived of our ability to discover th...
The archives of the little town of Cagliari, in Sardinia, contain the account of an astonishing historical fact. One night at the end of April or the beginning of May, 1720, about twenty days before the arrival at Marseille of the Grand-Saint-Antoine, a vessel whose landing coincided with the most amazing outbreak of the plague in that city's memor...
ANTONIN ARTAUD This plague, which seems to reactivate a virus, was of itself capable of inflicting equally virulent damage: of all the crew, the captain alone did not catch the plague; furthermore, it does not appear that the newly arrived victims had ever been in direct contact with the others, confined as they were to close quarters. The Grand-Sa...
ANTONIN ARTAUD The first is that the plague syndrome is complete without gangrene of the lungs and brain, the victim dying without the putrefaction of any member at all. Without underestimating the nature of the disease, we can say that the organism does not require the presence of a localized physical gangrene to determine its own death. The secon...
ANTONIN ARTAUD between the man who invents for himself personages he could never have imagined without the plague, creating them in the midst of an audience of corpses and delirious lunatics and the poet who inopportunely invents characters, entrusting them to a public equally inert or delirious, there are other analogies which confirm the only tru...
ANTONIN ARTAUD and incest, trampled upon, insulted, dragged by the hair, and we are astonished to discover that far from seeking a means of escape, she provokes her executioner still further and sings out in a kind of obstinate heroism. It is the absolute condition of revolt, it is an exemplary case of love without respite which makes us, the spect...
In the Louvre there is a work by a primitive painter, known or unknown I cannot say, but whose name will never be re-presentative of an important period in the history of art. This painter is Lucas van den Leyden and in my opinion he makes the four or five centuries of painting that come after him inane and useless. The canvas I speak of is entitle...
as in our European Pantomime (a mere fifty years old!) which is merely a distortion of the mute roles of Italian comedy-represent ideas, attitudes of mind, aspects of nature, all in an effective, concrete manner, Le., by constantly evoking objects or natural details, like that Oriental language which represents night by a tree on which a bird that ...
ANTONIN ARTAUD 43 call to us in trumpet blasts and greet us like bellowing elephants, we would have eternally associated the idea of bellowing with the idea of a beautiful woman, and a portion of our inner vision of the world would have been radically transformed thereby. This helps us to understand that poetry is anarchic to the degree that it bri...
There is a mysterious identity of essence between the principle of the theater and that of alchemy. For like alchemy, the theater, considered from the point of view of its deepest principle, is developed from a certain number of fundamentals which are the same for all the arts and which aim on the spiritual and imaginary level at an efficacity anal...
The spectacle of the Balinese theater, which draws upon dance, song, pantomime-and a little of the theater as we understand it in the Occident-restores the. theater, by means of ceremonies of indubitable age and well-tried efficacity, to its original destiny which it presents as a combination of all these elements fused together in a perspective of...
The Balinese theater has revealed to us a physical and nonverbal idea of the theater, in which the theater is contained within the limits of everything that can happen on a stage, independently of the written text, whereas the theater as we conceive it in the Occident has declared its alliance with the text and finds itself limited by it. For the O...
ANTONIN ARTAUD aspects of things on a single level nor rest content with the simple obstacle or with the impact of these aspects on the senses, but instead considers the degree of mental possibility from which they issue, that it participates in the intense poetry of nature and preserves its magic relations with all the objective degrees of univers...
One of the reasons for the asphyxiating atmosphere in which we live without possible escape or remedy--and in which we all share, even the most revolutionary among us--is our respect for what has been written, formulated, or painted, what has been given form, as if all expression were not at last exhausted, were not at a point where things must bre...
ANTONIN ARTAUD setting off one image that will shake the organism to its foundations and leave an ineffaceable scar. If, in Shakespeare, a man is sometimes preoccupied with what transcends him, it is always in order to determine the ultimate consequences of this preoccupation within him, i.e., psychology. Psychology, which works relentlessly to red...
An idea of the theater has been lost. And as long as the theater limits itself to showing us intimate scenes from the lives of a few puppets, transforming the public into Peeping Toms, it is no wonder the elite abandon it and the great public looks to the movies, the music hall or the circus for violent satisfactions, whose intentions do not deceiv...
We cannot go on prostituting the idea of theater whose only value is in its excruciating, magical relation to reality and danger. Put in this way, the question of the theater ought to arouse general attention, the implication being that theater, through its physical aspect, since it requires expression in space (the only real expression, in fact), ...
TECHNIQUE It is a question then of making the theater, in the proper sense of the word, a function; something as localized and as precise as the circulation of the blood in the arteries or the apparently chaotic development of dream images in the brain, and this is to be accomplished by a thorough involvement, a genuine enslavement of the attention...
I cannot give you particulars about my Manifesto that would risk emasculating its point. All I can do is to comment, for the time being, upon my title "Theater of Cruelty" and try to justify its choice. This Cruelty is a matter of neither sadism nor bloodshed, at least not in any exclusive way. I do not systematically cultivate horror. The word "cr...
ANTONIN ARTAUD wrong than the critic who condemns his single-minded concern for the mise en scene. For by taking pains with the mise en scene, which in a play is the truly and specifically theatrical part of the spectacle, the director hews to theater's true line, which is a matter of production. But both parties are playing with words; for if the ...
Admittedly or not, conscious or unconscious, the poetic state, a transcendent experience of life, is what the public is funda-mentally seeking through love, crime, drugs, war, or insurrection. The Theater of Cruelty has been created in order to restore to the theater a passionate and convulsive conception of life, and it is in this sense of violent...
ANTONIN ARTAUD 125 enter in all the clear and sharply elucidated parts of the action, the parts where life is resting and consciousness intervenes. But in addition to this logical sense, words will be construed in an incantational, truly magical sense-for their shape and their sensuous emanations, not only for their meaning. For these exciting appe...
I.--THE MARX BROTHERS The first film of the Marx Brothers that we have seen here, Animal Crackers, appeared to me and to everyone as an extraordinary thing: the liberation through the medium of the screen of a particular magic which the customary relation of words and images does not ordinarily reveal, and if there is a definite characteristic, a d...
I.--THE MARX BROTHERS The first film of the Marx Brothers that we have seen here, Animal Crackers, appeared to me and to everyone as an extraordinary thing: the liberation through the medium of the screen of a particular magic which the customary relation of words and images does not ordinarily reveal, and if there is a definite characteristic, a d...
I.--THE MARX BROTHERS The first film of the Marx Brothers that we have seen here, Animal Crackers, appeared to me and to everyone as an extraordinary thing: the liberation through the medium of the screen of a particular magic which the customary relation of words and images does not ordinarily reveal, and if there is a definite characteristic, a d...
I.--THE MARX BROTHERS The first film of the Marx Brothers that we have seen here, Animal Crackers, appeared to me and to everyone as an extraordinary thing: the liberation through the medium of the screen of a particular magic which the customary relation of words and images does not ordinarily reveal, and if there is a definite characteristic, a d...
I.--THE MARX BROTHERS The first film of the Marx Brothers that we have seen here, Animal Crackers, appeared to me and to everyone as an extraordinary thing: the liberation through the medium of the screen of a particular magic which the customary relation of words and images does not ordinarily reveal, and if there is a definite characteristic, a d...
I.--THE MARX BROTHERS The first film of the Marx Brothers that we have seen here, Animal Crackers, appeared to me and to everyone as an extraordinary thing: the liberation through the medium of the screen of a particular magic which the customary relation of words and images does not ordinarily reveal, and if there is a definite characteristic, a d...
I.--THE MARX BROTHERS The first film of the Marx Brothers that we have seen here, Animal Crackers, appeared to me and to everyone as an extraordinary thing: the liberation through the medium of the screen of a particular magic which the customary relation of words and images does not ordinarily reveal, and if there is a definite characteristic, a d...
I.--THE MARX BROTHERS The first film of the Marx Brothers that we have seen here, Animal Crackers, appeared to me and to everyone as an extraordinary thing: the liberation through the medium of the screen of a particular magic which the customary relation of words and images does not ordinarily reveal, and if there is a definite characteristic, a d...
16 de nov. de 2021 · PDF | On Nov 16, 2021, Blake Morris published Antonin Artaud | Find, read and cite all the research you need on ResearchGate.
- Blake Morris
16 de set. de 2019 · Antonin Artaud: Escritos, Poemas, Reflexões. Fizemos um compilado dos principais escritos do gênio teatral A. Artaud, pensando em enriquecer a biblioteca dos nossos leitores. Deleitem-se, Evoé! A Arte e a Morte Baixar. Em plena noite ou o Bluff Surrealista Baixar. Escritos de Um Louco Baixar. Eu Antonin Artaud Baixar.
INTRODUÇÃO. É difícil, quase impossível pensar em nome próprio. É Como se houvesse um pensamento que o precede a muito. Antonin Artaud já há muito tempo percebeu isso. Ele nos diz: “De qualquer lado que eu olhe para mim mesmo, sinto que nenhum de meus gestos, nenhum de meus pensamentos me pertence. (...)
