By Ros Murray
Antonin Artaud is likely one of the such a lot difficult and provocative figures in twentieth-century France. highly influential on severe theorists from the post-war interval as much as the current day, Artaud's paintings is still mentioned in theatre stories, serious idea, avant-garde artwork, functionality perform and picture experiences. Taking a comparative and interdisciplinary method, studying his paintings along Daniel Paul Schreber, Georges Bataille, Lewis Carroll, Germaine Dulac and Carl Theodor Dreyer, Antonin Artaud: The Scum of the Soul delves into the center of Artaud's artistic undertaking, situating this on the point of the cloth item: the paper on which he wrote, the distance of functionality, the film-strip and the tape recording. This illuminating ebook can be of significant importance to readers drawn to corporeal rebel and the facility of gesture, laying off new mild on tested theories of media and function and contemplating the unexplored complexities of Artaud's paintings because it engages with topic.
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Extra info for Antonin Artaud: The Scum of the Soul (Palegrave Studies in Modern European Literature)
The importance of speaking one’s thoughts out loud in psychotherapy immediately springs to mind and this presents interesting parallels to Artaud’s insistence that his glossolalia must be spoken out loud which, as we will see, might be interpreted as a method of resistance to the more restrictive representative structures through which he might otherwise be defined. For Artaud speaking out loud and performing are ways in which to resist representative discourses, whilst for Schreber, speaking out loud is merely to reproduce these repressive structures that dictate his very being, against his will.
Whilst Schreber opens his memoirs with a letter pleading for Flechsig (his doctor) to provide evidence of the objective truth of what he writes, Artaud’s opening sentence (addressed to an unidentified ‘vous’, perhaps the reader) dispels any construction of external reality, giving way to the creation of an ‘impossible space’ where communication might begin: J’ai senti vraiment que vous rompiez autour de moi l’atmosphère, que vous faisiez le vide pour me permettre d’avancer, pour donner 20 Antonin Artaud la place d’un espace impossible à ce qui en moi n’était encore qu’en puissance, à toute une germination virtuelle, et qui devait naître, aspirée par la place qui s’offrait.
Artaud, on the other hand, believes that there is a pre-representational and intensive conscious force that only he can The Limits of Representation 19 access, and his problem becomes one not simply of how to represent it, but more specifically how to render it present. Artaud’s writing is a much more visceral, affective account of embodied experience because unlike Schreber, who simply writes about the body, Artaud incorporates elements of the body and its material presence into his textual and graphic output.