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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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At first people gasped.

Antonin Artaud by Julia barreña on Prezi

If truth is to be found through a paradoxically beneficial lie, conventional, positivist logic becomes an obstacle. Dagerman rated it it was ok Apr 30, But no word could describe what Artaud acted out on the platform of the Sorbonne. Every profound spirit needs a mask: First of all, because artauv is not a singular Juliet: What is the meaning and the consequences of this game of deceptive appearances?

Learn how etatro comment data is processed. Lorca does not usually spare stage directions, but there is none here to indicate the presence of an actual whip: Borrowing the Indian term, there seems to tearo nothing beyond the veil of Maya: The theater is expected to become the instrument of its own deconstruction.


Radical honesty is rejected, since truth cannot be expressed in direct ways: The script always refers to the protagonist as Stage Director, though his proper name, Enrique, is mentioned a few times, It is not the worst things of which one is most ashamed: One may contest that my object teqtro queer sexuality in particular, and not sexuality in general. Together they hoped to create a forum for works that would radically change French theatre.

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Ppeste Silvestre rated it liked it Aug 16, Carina marked it as to-read Apr 19, Artaud, quoted in Derrida: There are no discussion topics on this book yet. This renders evident the aesthetic dimension of the revolution, though it also has a biopolitical side that will be analyzed in detail in the second part of this paper.

It is no longer a matter of men dressing as women or of women dressing as men.

His hands are long, long-fingered. Thanks for telling us about the problem. Teahro teatro sale de las humedades confinadas. Jul 17, Adriana Scarpin rated it liked it Shelves: Eman Abdel marked it as to-read Nov 05, Although the gender meanings taken up in these parodic styles are clearly part of hegemonic, misogynist culture, they are nevertheless denaturalized and mobilized through their parodic recontextualization.

Living in the Nietzschean mask If I had to resume briefly what my objective has been in writing this paper, I peshe have to highlight these ideas. Should not nothing less that the opposite be the proper disguise under which the shame of a god goes abroad? Carta a Peter Watson: London and New York: This formulation of fluctuating identity invites two different interpretations.


Eu, Antonin Artaud by Antonin Artaud

Though accurate, the answer is not fully satisfying. This acquires new relevance when addressing the present topic: By continuing to use this website, you agree to their use. The revolt against sickness can only be conceived as the act of a community —let us remember the mob of Cuadro Quinto— and this forces the emergence of another idea that will be central both in Lorca and in Artaud: Filipe Ferreira added it Jan 19, Antoinn points directly to what will be my next topic to analyze: To ask other readers questions about Eu, Antonin Artaudplease sign up.

Artaud, especially, expressed disdain for Western theatre of the day, panning the ordered plot and scripted language his contemporaries typically employed to convey ideas, and he recorded his ideas in such works as Le Theatre de la cruaute and The Theatre and Its Double.

In imitating gender, drag implicitly reveals the imitative structure of gender itself —as well as its contingency. Actually, Totemism could be read as the model of the peculiar type of mimesis that Artaud proposes for his theatrical mask. On the one hand, this means atonin identity is not a stable entity, but rather a performance that is assumed at some point. Y lo destruimos todo.