By Artaud, Antonin; Jannarone, Kimberly; Artaud, Antonin
Artaud and His Doubles is an intensive re-thinking of 1 of the main influential theater figures of the 20th century. putting Artaud's writing in the particular context of eu political, theatrical, and highbrow heritage, the booklet finds Artaud's affinities with a irritating 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 finds units of doubles: one, a physique of particularly chronic got 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 warfare I, denounced the degradation of civilization, yearned for cosmic purification, and referred to 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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Extra resources for Artaud and his doubles
33 Foucault’s brief discussion of Artaud does not focus primarily on him as a historically representative asylum patient, but as another instance (together with Nietzsche and Nerval) of a poet fighting against the impossibility of expression, someone whose struggle imposes on us “a task of recognition, of reparation” (Madness and Civilization, 288). Like many thinkers of the French school, Foucault, even within a book that otherwise concerns itself with the historical and political contexts of the cultural and 18 : artaud and his doubles psychological situation at hand, presents a strikingly ahistorical reading of Artaud’s work.
In the nouveau mal du siècle, there was no place for a cult of youth, a rhapsodic description of an age, or a secret harmony between the indi- Invocation of the Plague : 37 vidual writer and the cosmos. 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.
Canetti dares to assert that the madman’s structure of thought, his megalomaniacal fantasies of persecution, power, and retribution, anticipate the fascistic dynamic of crowds and power in the interwar era. 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.