By Adrian Morfee
Antonin Artaud (1896-1948), probably most sensible often called a dramatic theorist, is a crucial yet tremendous tricky author. This booklet reports the advance of his pondering, from the early texts of the Twenties via to the acclaimed yet lesser recognized Nineteen Forties writings, on such matters because the physique, theology, language, id and the quest for an elusive and unsayable self-presence, after which makes use of this as a framework within which to learn his past due texts. New consciousness is paid to the strategies during which his texts generate meanings, the logics that carry those meanings jointly, and the inner contradictions of the past due poetry. this permits a brand new photo 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 such a lot opaque writings. through returning to the texts and concentrating on the categorical phrases of Artaud's writing, in addition to their gleeful resourcefulness and ludicity, it's 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 learn will refocus serious idea on either the advance of Artaud's pondering and the importance of his oft-neglected later paintings.
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Additional resources for Antonin Artaud's Writing Bodies (Oxford Modern Languages and Literature Monographs)
The fact that loss cannot be told paradoxically provides the stimulus to write. Loss becomes the Wrst condition of self-exploration through writing. Such an attitude underpins the Correspondance avec Jacques Rivie`re. The insistence on the interpenetration of art and life is, of course, in no way speciWc to Surrealist poetry. 13 But Artaud, rather than regarding writing as a way of attempting to capture the self, sees it rather as a way of theorizing about the impossibility of such an undertaking.
17). It is only by such an abdication of faith in intellectual prowess that Artaud can allow the outside world to take on a similar density within (‘le monde devient sonore et re´sistant en nous’ (i**. 16)) and so experience the ‘sentiment [des choses] et leur retentissement en moi: le retentissement au bout duquel est la pense´e’ (i**. 16). It is noticeable, though, that Artaud’s texts tell of himself, not of the world. Despite comments on the need to connect afresh with the material world, he writes no Rimbaldian impressionistic texts of pure vision.
47–94). The text quoted here is dated by The´venin as 1932— hence seven or eight years after the majority of texts under discussion in this chapter. The ‘Pages de Carnet. Notes Intimes’ will be used quite extensively in the next chapter as important corroborating evidence for the interpretations put forward of Artaud’s late 1920s and early 1930s writings. 23 Samuel Beckett, Proust and Three Dialogues with Georges Duthuit (London: Calder, 1965), 103. 24 Caws, The Poetry of Dada and Surrealism, 20.