By Adrian Morfee
Antonin Artaud (1896-1948), maybe most sensible referred to as a dramatic theorist, is a vital yet super tricky author. This publication reviews the improvement of his considering, from the early texts of the Nineteen Twenties via to the acclaimed yet lesser identified Nineteen Forties writings, on such concerns because the physique, theology, language, id and the hunt for an elusive and unsayable self-presence, after which makes use of this as a framework during which to learn his past due texts. New awareness is paid to the techniques wherein his texts generate meanings, the logics that carry those meanings jointly, and the interior contradictions of the past due poetry. this permits a brand new photograph to emerge that bills for the coherent if unequal improvement of his rules in addition to the force in the direction of systematization to be present in even his so much opaque writings. by means of returning to the texts and concentrating on the categorical phrases of Artaud's writing, in addition to their gleeful resourcefulness and ludicity, it really is argued that Artaud has to be thought of now not as a contestatory psychotic yet as a author of the 1st magnitude.
Accessible to either student and newcomer, this illuminating and unique research will refocus serious suggestion on either the advance of Artaud's pondering and the importance of his oft-neglected later paintings.
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Extra resources for Antonin Artaud's Writing Bodies (Oxford Modern Languages and Literature Monographs)
His conception of language, thought, and reality is inscribed not just within the modernist movement but wholly within the matrix of Surrealist debate, of which he was one of the moving forces. However, where Andre´ Breton and Louis Aragon perceived the split within the speaking subject as introducing a fruitful strangeness into experience that made possible a rejuvenation of reality, Artaud identiWes this doubling in the subject with linguistic breakdown. It is true that breakdown places him on a metaphysically more authentic plane than that of the usual conceptual Wctions of the doxa.
J au de´nivellement de la pense´e’ (i**. 45). For Artaud the higher intellectual apparatus cudgels reality into its own form; he rails against the ‘Esprit-intimidation-des-choses pour les faire entrer dans l’Esprit’ (i*. 49). Such an attitude means that Artaud ‘doit admettre jusqu’a` un certain point une mystique surre´aliste’ (i**. 46) to try to remedy the fact that ‘l’Esprit ne soit pas dans la vie et que la vie ne soit pas dans l’Esprit’ (i*. 49), and this leads to a dream of a work of art that would be ‘une porte simplement abouche´e avec la re´alite´’ (i*.
But, despite positive reference to the marvellous, the dominant impression even in the most mainstream Surrealist texts Artaud wrote for La Re´volution surre´aliste is of advanced entropy and of being dragged down into the ‘ne´ant’ that appears so frequently under his pen. The rationalistic inXection of our ideation of reality veils the inadequacy of our representations of it, for reason lends a false coherence and illusory higher dignity to a reality that, if truth be told for Artaud, is experienced by suVering bodies as a scattering, confusing welter of experience.