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 e-book unearths Artaud's affinities with a aggravating 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 in particular power bought interpretations from the yank 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 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 way in which we glance at his paintings and ideas.
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24 : artaud and his doubles The crowd between the wars in Western Europe provides an illuminating context for Artaud’s ideal theater event and another way of interpreting his call for resistance, revolution, and liberation. Crowd theory provides us with a critical vocabulary that helps us orient our notions of “freedom” in the context not of the 1960s but of Artaud’s interwar Theater of Cruelty. Crowd theory analyzes how people behave differently when in crowds than when alone, and it establishes critical terms for the relationship of crowds to leader figures.
All of the legal and editorial wrangles with his works that occupied a significant place in the French press for decades); from Artaud as a case study; from the Romantic legacy of poet as sufferer, of artist as spiritual visionary. Artaud’s oeuvre has inspired an extraordinary number of works in late twentieth-century French theory and criticism, but when it comes to Artaud, the criticism is identificatory and, in general, conspicuously ahistorical. Artaud in Context Artaud lived in a world constituted only by his own self, oblivious to the political conflicts around him.
Liberation sounds empowering, and freedom carries with it a promise of happiness, but to be free does not necessarily mean to be empowered; to be liberated does not equal self-fulfillment. The hidden double of the kind of freedom Artaud 26 : artaud and his doubles promotes—dismantling systems without establishing a vision for what would take their place—is chaos, which leads not necessarily to liberation, but just as often to its opposite. Beyond Poète Maudit The historian George L. ”49 It is my hope that this book’s examination of an unexplored side of Artaud’s oeuvre will provide new confrontations with not only his works and time but also the reality of our own embrace of him and the complex relationships among experimental theater, liberationary ideals, and the dynamics of power between groups of people and charismatic leaders.