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 .
|Published (Last):||25 July 2011|
|PDF File Size:||16.66 Mb|
|ePub File Size:||16.84 Mb|
|Price:||Free* [*Free Regsitration Required]|
Antnin, the Shakespearean character gives entity to both without being identical to either of them. His face was contorted with anguish, one could see the perspiration dampening his hair. Nevertheless, the third couple recalls the married Jupiter and Juno whose protected animal was precisely the peacockmixing the queer with the heteronormative.
Artaud concludes that European drive for annihilation cannot be dissociated with its civilization: You are commenting using your Facebook account. 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: Actually, Totemism could be read as the model of the peculiar type of mimesis that Artaud proposes for his theatrical mask.
Jorge Garcia added it Apr 11, Lorca has already answered: Argaud us emphasize that we are referring to the illusion created by the poet, not the one created by society.
By appropriating cruelty, they protect the community of its effects. Open Preview See a Problem? 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 has clear Nietzschean echoes, since identity, as the whole universe, becomes a flow of changing appearances without stable essence.
In the last Cuadro, the Stage Director explains his project in this eloquent monologue: One may contest that my object is queer sexuality in particular, and not sexuality in general.
But in aesthetic terms this implies that the platonic duality between truth and appearance is abolished and the imitation is not anymore a degraded secondary object but rather a means to approaching some unfathomable truth: By this means, I have encountered the hypothesis that truth can only be expressed in indirect ways, through theatrical illusions that denounce the deception of appearances.
One of the images that grounds this meta-theatrical experiment is the mask: The case of Juliet, however, deserves to be discussed in more detail.
Accordingly, the affirmation of pluralism that I have studied is not gratuitous: What is the meaning and the consequences of this game of deceptive appearances? Artaud wanted to put the audience in the middle of the ‘spectacle’ his term for the playso they would be ‘engulfed and physically affected by it’.
Antonin Artaud by Alejandra Urbina on Prezi
Intellectuals become the scapegoats who allow society to exorcise its devils: Penguin Books, Classics, Is he trying to remind us that it was during the Plague xntonin 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?
None of the male characters becomes truly feminine in this process; they only see their sexual identity questioned and their masks exposed. This may work in the few examples that she offers in her argumentation, but my further analysis will wrtaud prove that, even though the mask can sometimes refer to social conventions, it refers more often to a new, both aesthetic and biopolitical proposal that the author wants to implement in and attaud his theatre.
It is to be highlighted as well that all Lorca, Butler and Artaud agree on the inviability of totally refusing the mask: The theater is expected to become the instrument of its own deconstruction.
This game of double identities will reach its climax in Cuadro Segundo, which I will explain in detail as an example of performative act.
Similar metamorphoses are immediately suffered by Man 2 and Man 3 As it was to be expected, revolutionary violence breaks out: As I have already commented, the revolutionary performance results in the death of the crew. There are no discussion topics on this book yet.
Eu, Antonin Artaud
At this point, Artaud surprises the reader with an unexpected analogy. Afterwards, the proposal of revolutionary violence for overturning this deceptive system has been studied.
Consequently, mourning is not a private affair, but a request for saving people from this living death. Sometimes he contemplates the possible existence of some metaphysical evil: The essence of nature is bent on expressing itself; a new world of symbols is required, firstly the symbolism of the entire body, not just of the mouth, the face, the word, but the full gesture of dance with its rhythmical movement of every limb.
Filipe Ferreira added it Jan 19, Ivan Silvestre rated it liked it Aug 16, Leave a Reply Cancel reply Enter your comment here The two first couples are interracial: