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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But, how exactly are they supposed to participate?
Penguin Books, Classics, Ana Lu marked it as to-read Jul 03, Therefore, it is in the discipline of philosophy of language that performativity is born. Actually, Totemism could be read as the model of the peculiar type of mimesis that Artaud proposes for his theatrical mask. 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.
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: This point will be dealt abundantly on the second part of this paper. Everything profound loves the mask; the profoundest things of all hate even image and parable.
None of the male characters becomes truly feminine in this process; they only see their sexual identity questioned and their masks exposed. As a means to close the loop, I would like to finish this paper with a Nietzschean argaud that links the topics of mimesis, identity-building and shame with the image of the mask which has been my starting point.
He who then objects: As it was to be expected, revolutionary violence breaks out: They banged the door as they left. No distinction can be made between the aesthetic and the biopolitical project: Particularly generic are the names of Man 1, Man 2 artad Man 3. But it is not to be forgotten that this cross-dressing is juxtaposed with the revolution that I have already analyzed.
Learn how your comment data is processed. Antoine Marie Joseph Artaud, better known as Antonin Artaud, was teztro French playwright, poet, essayist, actor, and theatre director.
This book is not yet featured on Listopia. But, first of all, this violence could not be understood without taking artayd account the analysis our two authors make of contemporary society. Fill in your details below or click an icon to log in: There are no discussion topics on this book yet. Nonetheless, Artaud hesitates in indicting entirely Progress for this violence.
Y lo destruimos todo. Indeed, there is born an abundant series of images that link not only theatre and culture with the disease, but also with the cure for it: If there is a mask, then there is a behind-the-mask and we need to know what is behind, to be sure. This formulation of fluctuating identity invites two different interpretations.
The script always refers to the protagonist as Stage Director, though his proper name, Enrique, is mentioned a few dl, Certainly his analysis of contemporary civilization is way more moderate, but it should be taken into account that the play was written before Artaud wrote what I am including in this paper, when the political situation in Europe was not that desperate.
On the other hand, this must be done to give a voice to those who are dead and, then, cannot speak: This has led me into discussing such apparently different questions as mimesis or identity-building. Indeed, the parody is of the very notion of an original. What is the meaning and the consequences of this game of deceptive appearances?
Eu, Antonin Artaud by Antonin Artaud
Artaud could have taken this idea of regeneration through death from the Mexican culture. Artaud, quoted in Derrida: What I understand here is that a relation can only be recognized and legitimized through the recognition and legitimation by the other.
Beside him Allendy looks earthy, heavy, gray.
O Teatro e a Peste: This schism may not be as radical as it seems: In this context, it may not surprise the reader to find that the relation can as well become aggressive: