Le théâtre et son double

Le théâtre et son double A Collection Of Manifestos Originally Published In , The Theater And Its Double Is The Fullest Statement Of The Ideas Of Antonin Artaud We Cannot Go On Prostituting The Idea Of The Theater, The Only Value Of Which Is In Its Excruciating, Magical Relation To Reality And Danger, He Wrote He Fought Vigorously Against An Encroaching Conventionalism He Found Anathema To The Very Concept Of Theater He Sought To Use Theater To Transcend Writing, To Break Through The Language In Order To Touch Life

Antoine Marie Joseph Artaud, better known as Antonin Artaud, was a French playwright, poet, essayist, actor, and theatre director.Considered among the most influential figures in the evolution of modern drama theory, Antonin Artaud associated himself with Surrealist writers, artists, and experimental theater groups in Paris during the 1920s When political differences resulted in him breaking from

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  • Paperback
  • 150 pages
  • Le théâtre et son double
  • Antonin Artaud
  • English
  • 21 June 2017
  • 9781847493323

10 thoughts on “Le théâtre et son double

  1. says:

    Artaud faz uma Cr tica ao teatro verbal do ocidente que n o se utiliza da metaf sica dos gestos ,que nunca soube utilizar a m sica para fins dram ticos ,n o faz uso de movimentos ,formas, cores, vibra es, atitudes e gritos Elogia o teatro oriental que se utiliza de tudo citado acima Artaud admira o teatro de Bali com toda a sutileza dos gestos , nas modula es variadas das vozes, m sicas e m micas Critica os diretores ocidentais que seriam eliminadores de atores, enquanto os diretores orientais seriam um ordenador m gico, um mestre de cerim nias sagrado Critica tamb m as adapta es de obras primas a qual chama de teatro psicol gico.Essas obras teriam que ser adaptadas para a poca atual.Prop e ent o atrav s de manifestos, uma nova forma de se fazer teatro isso na d cada de 30 que seria o teatro da crueldade.O espectador n o seria apenas um mero espectador , seria submetido a uma carga emocional , a um tratamento de choque emotivo N o haveria tamb m nenhuma dist ncia entre ator e a plateia, todos seriam atores e todos fariam parte do processo, ao mesmo tempo.

  2. says:

    Perfect for a day at the beach

  3. says:

    I m practically a phillistine when it comes to fine arts Even then, I found much of what Artuad s essays in this manifesto to be extraordinarily accessible.The Occidental theatre has lost its magic to make a metaphysics out of gestures, lighting, movements, in the short, the whole mise en scene, proclaims Artuad The Director prostrates before the Author, the stage before the text, the non discursive materiality of the word before the written text Frustrated by the emanciation of Theater into a pathetic, anaemic screen on which our psychological and moral squabbles are half projected and half resolved, Artuad proposes that we break out of the dictactorship of written text and restore to Theater its original destiny as a spectacle of equal convulsion, impulse, and vigour as the phenomenon of life itself.In the Balinese theater, for example, the distinction between background and foreground collapse under the immense abstract weight of the costumes, the sound of the thunderous musical accompaniments that threaten to become gestures in their own right, and the geometric lines articulated by sudden and mechanical sliding, twisting, and turning of the heads, limbs and wrists Artuad notoriously fancies cruelty as the essential dimension of this Theater But cruelty is something wholly other than bloodshed, at least according to Artuad Rather, it is an abstract principle that life insofar as an conscious effort on its own part to discriminate itself from unlife obeys to the nth degree Namely, life is already cruelty Cruelty signifies rigor, implacable intention and decision, irreversible and absolute determination Often times Artuad is at pains to explain his theses in practical terms But there s a palpable sense that what he s groping towards is a kind of a limit that life tends to as a primordial source from which it draws its vigour, but is not itself that Artuad does not mince words His prose is obscenely visceral.

  4. says:

    Ova knjiga va na je za poznavanje povijesti kazali ta, ali se ne sla em s vizijom koju predstavlja, zapravo, bolje bi bilo re i da se ne sla em s onim to je ostvarila U mnogome ono to Artaud opisuje meni zapravo zvu i kao folklorno kazali te kazali te koje nije na pozornici, kazali te koje je dio ritualnog prostora malih ljudi, koje njima zna i u njihovoj percepciji prostora, kazali te koje kroz divlje zvukove, ak i lascivne teme zapravo kroz taj kaos poku ava povratiti na duboko simboli an na in red u svemir , ali folklorno kazali te koje je on tuma io u potpuno pogre nom smislu od onoga koje ono nosi ili bar nosi u mojoj percepciji jer sam u njemu sudjelovala Govori u nekim slu ajevima kako treba vratiti kazali te narodu i da je krivnja kazali ta to ono narod ne zanima, a upravo ono to je nastalo inspirirano njegovom vizijom je ne to najdalje od naroda to se mo e biti i u emu u iva samo turbo elitisti ki odvojena ekipa koju zanima njegova vizija i koja je upu ena u ono to bi ona trebala predstavljati Upravo to meni zvu i kao to na proma enost njegove vizije, a mo da je to i zato to je ni on sam nije potpuno razumio, tj nije razumio to Balijsko kazali te kojem se toliko divio U drugu ruku, vidi se da je djelo jako inspirirano isto nja kom duhovno u i tuma i problematiku upravo zapadnja kim razvojem umjetnosti, ali o ito nije zavrio u folklor na zapadu da bi shvatio da se ne radi toliko o razvoju uniformirane umjetnosti koliko o cijelom duhu u kojem su te civilizacije nastajale Ovo sam se napisala upravo zato to me njegova vizija ak i zaintrigirala, u inila da se u mnogome sla em, ali na in na koji se to posti e ostvarenje te vizije po meni je potpuno proma en.Knji ica je jako pristupa na, jezik je lijep i poeti an, a mnoga ponavljanja su po mome mi ljenju dobrodo la jer poma u u razumijevanju i usustavljivanju Artaudovih ideja.

  5. says:

    This is one of those books that seems cursed by having been too influential Some of the arguments, presumably ground breaking at the time, have been so thoroughly absorbed in later theoretical and artistic developments that they seem obvious The end result is a book that feels repetitive and rather banal The message may be trivial, but Artaud s writing is lively He covers Balinese theater, Kabbalah, Aztec culture, and the Black Death not in the manner of an eclectic scholar, but rather like someone who has become fiercely obsessed with a few random subjects As a Marx Brothers fan, I appreciated this bit near the ending The poetic quality of a film like Animal Crackers might correspond to the definition of humor, if this word had not long since lost its meaning of total liberation, of the destruction of all reality in the mind.

  6. says:

    Hrvatski centar ITI UNESCOZagreb, 2000.Preveo Vinko Grubi i Izvorno objavljeno 1938.Ocjenu sam dao oslanjaju i se prete ito na sadr aj, s time da je stil jako kvalitetan U vezi jezika valja re i da je sve pisano esejisti kim stilom koji je, u nekim teorijskim tekstovima, toliko isprepleten s knji evnoumjetni kim stilom da se neki teorijski tekstovi mogu smatrati i knji evnim djelima, posebice tekst Kazali te i kuga Jezik je jednostavan i razumljiv Artaud je posjedovao izniman i ivopisan duh, iz njegova teksta kreativnost,u stilu i u sadr aju, bombardira itatelja.Teorijska ideja gotovo potpunog odbacivanja teksta, u potpunosti micanje dijaloga, negiranje europskog psiholo kog kazali ta je inventivna i avangardna Meni je tekst uvijek dra i od posttesktualnog kazali ta, no ku im to Artaud eli S time da nikada nisam gledao artaudovsku predstavu, mo da bi nakon gledanja jedne takve predstave i zavolio takvo kazali te vi e od ovog srednjostruja kog kazali ta Artaud je u pravu kada tvrdi da su dijalozi, izgovaranje rije i, konkretni psiholo ko egzistencijalni problemi kazali nih likova nekazali ni element kazali ta Artaud smatra da je temelj kazali ta re ija, po uzoru na kazali ta nezapadnih dru tava eli ostvariti kazali te utemeljeno na kretnjama tijela, simbolici scenografije, neljudskim zvukovima, neartikuliranim zvukovima te na novom kori tenju rasvjete Artaud eli dovesti publiku nasred kazali ta, da se predstava odvija u svim smjerovima oko publike Artaud je prometejska vatra, svojevrsni Donadini, ru itelj starog, stvaratelj novog, koji je, poput Donadinija, bio psihi ki bolestan Artaud je bio bajronovska li nost avangarde.Obi no, u svojim osvrtima, nikada ne govorim o piscu, no Artuad me zaintrigirao On je Napoleon knji evnosti, Raskoljnjikov koji je poku ao ubiti Aljonu Ivanovnu, no gledaju i dana nje srednjostruja ko kazali te, o ito je da je Aljona Ivanovna jo iva Ali nakon Artauda, iako iva, jo nije izvadila sjekiru koja joj je zabodena od strane Artuda, te tetura, sve vi e i vi e.Pro itav i ovu knjigu o ito je da je velik utjecaj na nju imalo Nietzscheovo Ro enje tragedije.No na kraju smo Kali Yuge, na kraju smo helenisti ke kulture, bar se mo emo nadati, no smrt na e civilizacije je o igledna Aljona Ivanovna e valjda uskoro preminuti.Hvala ti Artaud

  7. says:

    I just re read a little of this After finishing Strip City I wanted something to read while hanging around the house one day but couldn t decide what to start next so I went with a little out of Theatre It is one of my all time favorite peices of writing.I ve picked this book apart so many times that this time I decided just to enjoy the words Artaud had a way with words that I haven t found anyone else close to Take for example this paragraph from The Theatre and The Plague my personal favorite A social disaster so far reaching, an organic disorder so mysterious this overflow of vices, this total exorcism which presses and impels the soul to its utmost all indicate the presence of a state which is nevertheless characterized by extreme strength and in which all the powers of nature are freashly discovered at the moment when something essential is going to be accomplished Seriously, amazing.

  8. says:

    I disagree wholesale with pretty much everything Artaud has to say and his philosophies usually produce the kind of insufferable pretentious theatre nobody outside of an art school can stand but this is still essential reading for any serious theatre student The last chapter on actor as athlete Is particularly worthwhile.

  9. says:

    cruelty might be the functionally irreducible element that endures in all of its unassimilable difficulty on through the frustrated attempts of bertalanffian sociological capture the vigor and wildness of this non theoretical anarchistic kinship with antonin artaud stems from an embrace that all sociological form must be continually subverted, that this is the tendency of collaboration, that the structure of kinship is continually broken in its recrudescence, like how fred moten in in the break during one of many of its most perspicacious passages describes the homoerotic link between prolific jazz co composer of one of my absolute favorite pieces of music satin doll billy strayhorn, harlem renaissance modernist painter beauford delaney and artaud true to form at the same time the text betrays he was an embarrassing misogynist and anthropological racist like he did the white male thing of pretending to master an understanding of what things actually are that doesn t really hold up very well to time in my complete anti metaphysical extremity all art can only be action that tatters status quo, language and expectation asunder, but at the same time i differ greatly from what has seemed to me to be the non essential essence of performance art that has distilled in a couple of irritated anecdotes of being made to constantly move audience up and down the hallway of a former military hospital for each bit in this thing a friend of mine had been invited to perform in what cruelty means doubles as maybe a kind of work ethical intensity or maybe something synonymous with volunteering oneself to dawn davenport s call of who wants to die for art

  10. says:

    munjen si, o

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