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It is perhaps exaggerated the hypothesis that Fondane's poetics is systemically articulated. A number of dominant features, however, impress a dynamic unity on Fondane's vision of the theater, even on the performative dimension of A number of dominant features, however, impress a dynamic unity on Fondane's vision of the theater, even on the performative dimension of culture, as is evident in the False Treatise of Aesthetics, written in the Parisian years.
Touched by the influence of the French intellectual and artistic environment, following the meeting with Artaud and Shestov which accentuated the "existential" predisposition of Fondane's thinking , these constants can be traced back to his first press articles and to his plays, contaminated by readings of Nietzsche, Kierkegaard, Shestov, Gide.
The influence of these mentors is felt in how Fondane reads and rewrites in his plays the classic stories of Oedipus, Philoctetes, the wandering Jew. The biographies of the masters, that of Nietzsche or Kierkegaard, are mutually placed by Fondane in a dramatic logic. They are the protagonists of existential "dramas" and, like any "tragic" hero, they are waiting for the end that absolves them of the burden of an "unhappy conscience".
The figure of the hero in Fondane's plays borrows and dramatically transposes this "existential" odyssey which is a pattern of Fondane's work poetry, dramaturgy, essay and his biography. Already from the articles of the Romanian period, beyond the empirical commentary of text or performance, there emerges Fondane's preoccupation with the rules and structure of ever changing drama mechanisms, from the Greek tragedy to the realistic and symbolist drama.
Such reflections will later find an organic continuation in those observations from the False Treatise convergent with an important direction from the theory and practice of the performing arts of the twentieth century and beyond: a creative direction prefigured by Antonin Artaud, who is trying to revitalize western performance by its "re-dramatization" not so much by emphasizing the effect of real, credible imitation, but by emphasizing the artifact nature of the performance, as an alternative to the real.
Save to Library. This emphasis is made by establishing the parallels between the deconstruction of Derrida, and Artaud, who is an important figure in critiques of centralist and representationalist approaches in the field of art. Here lies: Antonin Artaud. Antonin Artaud explored in an exceptionally lucid way the relations between representation, writing, pain, society, madness, body and gesture. His investigations based on his own experiences proved to have a vast and later impact on art, His investigations based on his own experiences proved to have a vast and later impact on art, writing and performance, especially on the French theoretical work from mid s to the present, in the writings of Jacques Derrida, Gilles Deleuze, Helene Cixous or Julia Kristeva.
The transmission of imageries of bodies in his writings is impaired by representation and by what Artaud calls a double trap: the dispersal of language through inarticulation, that happens when his images of the body in extreme situation are taking a textual form, and the dispersal of relevance when a text is assembled through the loss of representation. In Here Lies, one of his last poems, right from the start, hysterical elements come into play.
As Sontag writes, we are dealing with a work that "cancels itself. Barthes, Brecht, Artaud Verlagsflyer. Etc etc. Berlin: Neofelis, In this paper I propose an analysis of the letter Antonin Artaud wrote to Alexis Carrel in reaction to the publication of his book Man, the Unknown, Quando se Antonin Artaud. Metodologia de pesquisa-baseada-em-Artes. When it comes to the Performing Arts, which have gained strength in the latter half of 20thCentury as an independent field of knowledge, this need becomes even more frequent —andthe appropriate methodologies that take the creative process of the actoras researcher into account are still at a consolidation stage.
DOI: doi. This paper discusses some observed aspects of the process. Keywords: Cartography. Performing arts. Arts-based-research Methodology. Researchers, artists and contemporary performers continue to give voice and body to their ideas and attest to their Researchers, artists and contemporary performers continue to give voice and body to their ideas and attest to their importance.
In , Ephemera - Journal of Theatre and Performance Studies, edited by Federal University of Ouro Preto, Brazil, circulated a call for papers to the Special Issue Antonin Artaud and Reverberations, which received such a large volume of high quality articles that we ended up deciding to break this dossier into two issues, which demonstrates the enormous repercussion of Artaudian work not only on the performing arts, but also on psychology, philosophy and so many other fields.
More than that: the positive reception of the first dossier made us even more excited for launching this second part, in which we sought to organise the papers in order to illustrate the repercussions and relationships woven in and by the artaudian work since his first writings, connected to the avant-gardes of the beginning of the 20th Century, until nowadays, with strong influences on Performance Art and the contemporary scene.
Lee Patterson. La ricerca teatrale novecentesca: dal corpo santo al corpo senz'organi. La relazione tra alcune figure centrali della ricerca teatrale novecentesca e alcune figure di mistici medievali e non solo sul denominatore comune del corpo inteso come apertura primaria al mondo.
This third issue comes full circle: we have ended our debut year with a multilingual special issue about the countless reverberations of Antonin Artaud. We would like once more to thank everyone who had worked hard and gave their time for We would like once more to thank everyone who had worked hard and gave their time for this issue to come out: to editors-in-chief Luciana da Costa Dias and Tamira Mantovani Gomes Barbosa, to every author, proof-reader, translator, reviewer and everyone else who, in some way, keeps believing in the creation of this journal and contributed for this issue to be published — even in the midst of all troubles that assault Latin America.
Tamira Mantovani. Carolina de Almeida Berger. Carlos Segovia. Andrea Pagnes VestAndPage. Talita Baldin. The theoretical framework is built from three main sources.
Nietzsche, in Nietzsche, in his fundamental critic of rationalism and nihilism as characteristics of modernity, seeks to overcome it, rescuing the body as source of all meaning, thus inaugurating the theoretical questioning field we intend to approach. Artaud seeks to rescue a primordial concept of theatricality, in which the body as well as scream and breath is the fundament of theatrical action. He rejects the supremacy of the word and of reason to build a scene, thus helping us to understand the relationship between overcoming of modernity and overcoming of logocentrism also in theater.
It is difficult to date the moment when the idea of Mexico infects the thoughts of Antonin Artaud, not as an idea but as the need for its construction: an impossible Mexico, a model of ritual and spasmodic existence; a Mexico whose It is difficult to date the moment when the idea of Mexico infects the thoughts of Antonin Artaud, not as an idea but as the need for its construction: an impossible Mexico, a model of ritual and spasmodic existence; a Mexico whose imaginary cartography Artaud will go on to construct, through no less spasmodic visions, over a period of at least fifteen years.
Consiste in sistemi di pensiero da contemplare e da ripetere, ma che non si innervano nella prassi, non sono sentiti. Solo conosciuti. Compresa l'Arte che, per sua natura estetica e dunque contemplativa, separa la vita dalla forza, dalla potenza. Fuori dal linguaggio, prima del linguaggio, dunque col suo proprio linguaggio. Capace di raggiungere la vita. Suoni, luci, gesti, parole, scenografie Teatro che parla alle masse e non agli individui.
Dove la catarsi fa appello alle emozioni per placarle Artaud fa appello alle emozioni per liberarne il potenziale sovversivo. Les nits incendiades. It is still necessary to ponder those things which, because of their very nature, seem impossible to understand.
Josep Palau i Fabre vindicated a literature grafted with madness such as the alchemic tradition, in order to re-encounter a Related Topics. Literatura Comparada Comparative Literature. Follow Following. Gilles Deleuze. Theatre Studies. Literatura Comparada. Gilles Deleuze and Felix Guattari. Georges Bataille. Performance Studies. Theatre History. Michel Serres. Ads help cover our server costs. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link.
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ANTONIN ARTAUD --- IL TEATRO E IL SUO DOPPIO, LA METAFISICA E IL TEATRO DELLA CRUDELTA'?
ISBN 13: 9788806156909