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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This site uses cookies. The scene of the folding screen is a clear example and should remind us of the perpetual game of mirrors that Artaud proposed. This way, I will try to unveil the aesthetic and biopolitical project that is outlined in the play.

What could be read as a terrifying void can thus be interpreted as a promising starting point, and this is precisely what the Stage Director proposes: Castela added it Nov 12, Notify me of new posts via email.

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Log In Sign Up. Learn how your comment data is processed. Butler, cited anyonin Culler: Goodreads helps you keep track of books you want to read. Beyond Good and Evil, trans. Mirha Seni added it Jun 12, As a means to close the loop, I would like to finish this paper with a Nietzschean quote that links the topics of mimesis, identity-building and shame with the image of the mask which has been my starting point. Vitor added it Jul 27, Thanks artaux telling us about the problem.


He sits at the desk, massive, brooding. Artaud concludes that European drive for annihilation cannot be dissociated with its civilization: None of the male characters becomes truly feminine in this process; they only see their sexual identity questioned and their masks exposed.

The role of the mask in García Lorca’s El Público | Adrián Menéndez de la Cuesta –

The authorities significantly stick to a rigidly uniform understanding of relations and exert their power to eradicate deviances: This question will be echoed in Sedgwick: On the other hand, this must be done to give a voice to those who are dead and, then, cannot speak: These three authors thus destroy classic conceptions of representation.

His hair, rather long, fell at times over his forehead.

The first one is the importance of an audience. Notify me of new comments via email. Penguin Books, Classics, This however conflicts with one l that is particularly dear to the French writer, that of the decadence of the West as a sort of sickness or artaur Joao Parreira marked it as to-read Aug 22, In other words, acts, gestures, and desire produce the effect of an internal core or substance, but produce this on the surface of the body, through the play of signifying absences that suggest, but never reveal, the organizing principle of identity as a cause.

Contingency is affirmed and thus also hope for recovery.

Anaïs Nin on Antonin Artaud | Die Elektrischen Vorspiele

Click here to sign up. As the last point before moving to the implementation of performativity theories on Lorca, I should consider briefly the role of the intellectual in both authors.

O Teatro e a Peste: I have traced throughout my analysis the theatrical image of the mask in Lorca, trying to explain its complexity. In fact, the latter has a destructive power that can be used to fight the former. London and New York: In this context, it may not surprise the reader to find that the relation can as well become aggressive: Together they hoped to create a forum for works that would radically change French theatre.


Thirdly, in destroying harmful appearances, the artist claims the universe as a multi-layered, perspectivist space where contingent forms can always be substituted for fitter ones.

He made one feel the parched and burning throat, the pains, the fever, the fire in the guts. No one quite knew when it began. Allendy sitting there, the public, the young students, his wife, professors, and directors.

However, when limits between constatative reproducing a message and performative enacting some deed speeches becomes blurred or even inexistent Culler: If there is a mask, then there is a behind-the-mask and we need to know what is behind, to be sure.

Europe and our civilization are in crisis. A metaphor is not an equation that can be solved; it is more like a chain of connections. They are the eyes of a visionary. Knowledge is now based not on rationality but on hallucination and intoxication Artaud: Questions posed by performativity have resonated through the theoretical writings of the past three decades in a carnivalesque echolalia of what might be described as extraordinarily productive cross-purposes.

Firstly, the avant-garde lyricism of the ritual should not mislead the reader: