By Artaud, Antonin; Jannarone, Kimberly; Artaud, Antonin
Artaud and His Doubles is a thorough 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 heritage, the publication finds Artaud's affinities with a stressful array of anti-intellectual and reactionary writers and artists whose ranks swelled catastrophically among the wars in Western Europe.
Kimberly Jannarone indicates that Artaud's paintings finds units of doubles: one, a physique of mainly chronic bought interpretations from the yankee experimental theater and French post-structuralist readings of the Nineteen 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 international conflict 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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Additional resources for Artaud and his doubles
Artaud and His Doubles suggests, as shown in the choice of epigraph, that the madman in his cell who sheds light on the most troubling systems of thought in the twentieth century might also— and more directly than Schreber, given when he was writing—be Artaud. Translation and Revolution More than half a century after his death, Antonin Artaud’s name conjures for Americans the dreams of our 1960s radical theater artists. In the United States and in England, Artaud’s works have been received primarily as inspiration for experimental performance practices in the service of liberationary social and political ideals.
The Romantic idea of limitless personal creativity and individual transcendence lost its hold on the imagination for writers such as Céline, Malraux, Léon Daudet, and Drieu la Rochelle. 14 The Theater and Its Double was born in this moment of the nouveau mal du siècle, exuding a fervor to resist succumbing to any enervating morbidity. “The Theater and the Plague,” instead, enthrones sickness as the arcanum of power. ” It invokes a role for the theater that consists of bringing forth a monstrous swarm to overturn the old world order and establish a reign of terrifying energies in its place: “Like the plague the theater is the time of evil [le mal], the triumph of dark powers” (TD, 30).
Artaud in Context Artaud lived in a world constituted only by his own self, oblivious to the political conflicts around him. Ought we, also, to live there? Or shouldn’t we rather examine his works themselves to see how he absorbed and reworked ideas, imagery, and impulses of his time, whether consciously or unconsciously? Artaud and His Doubles does not take sides with any existing school of thought. Instead, it attempts to move beyond current paradigms by examining elements missing from these readings.