By Adrian Morfee
Antonin Artaud (1896-1948), might be most sensible often called a dramatic theorist, is a crucial yet tremendous tricky author. This publication experiences the advance of his considering, from the early texts of the Nineteen Twenties via to the acclaimed yet lesser recognized Nineteen Forties writings, on such matters 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 overdue texts. New realization is paid to the approaches during which his texts generate meanings, the logics that carry those meanings jointly, and the inner contradictions of the overdue poetry. this permits a brand new photo to emerge that debts for the coherent if unequal improvement of his principles in addition to the force in the direction of systematization to be present in even his so much opaque writings. through returning to the texts and targeting the explicit phrases of Artaud's writing, in addition to their gleeful resourcefulness and ludicity, it truly 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 pupil and newcomer, this illuminating and unique research will refocus severe inspiration on either the advance of Artaud's considering 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)
A silence immediately shattered by the full-throated aYrmatory outburst. The third paragraph is one single capitalized word, and this lineation, to which we have been sensitized 19 Dumoulie´, Antonin Artaud, 11. 18 introduction by the use of punctuation to expand and contract the semantic units in the second paragraph, underscores how the will to structure contained in one word is equal to forty words of dissolution. An intense centrifugal force has curbed the threatened incoherence and allows the text to progress in cliche´d tranquillity.
Qu’il vaut mieux eˆtre dans un e´tat d’abdication perpe´tuelle en face de son esprit’ (i**. 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.
It is a theorizing of suggestion, not of deWnition, and the object in whose name this theorizing is covertly undertaken is absent from his texts. Whether it be his early desire for a language that might enable self-presence, a theatre of metaphysical immediacy in his middle period, or the performative, dynamic identity he lays claim to in his Wnal writings, he is always gesturing towards something he cannot quite state. The structures of his theorizing are grandiose constructs that do not hold their unobtainable desires.