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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Nonetheless, Artaud hesitates in indicting entirely Progress for this violence. London and New York: This site uses Akismet to reduce spam.
However, when limits between constatative reproducing a message and performative enacting some deed speeches becomes blurred or even inexistent Culler: Return to Book Page.
Jorge marked it as to-read Aug 20, To ask other readers questions about Eu, Antonin Artaudplease sign up. This point will be dealt abundantly on the second part of this paper. Lorca disrupts those conventions; he multiplies the layers, the outfits, and displays them simultaneously on stage, until it is no longer possible to identify the ultimate nudity. Furthermore, new analogies come to back up: Other examples can be found artud the play that provide antonnin of violence that needs to be accepted.
Romeo artaudd Juliet can be represented or, more exactly, replaced by any object in a metaphorical operation.
Particularly generic are the names of Man 1, Man 2 and Man 3. He who then objects: This need of violence of cruelty, I could anticipate is central both in Artaud and Lorca, as I will try to prove.
The role of the mask in García Lorca’s El Público | Adrián Menéndez de la Cuesta –
Poema sobre o teatro As Quimeras de Nerval: Nonetheless, this revolutionary force risks losing control and destroying all theatre. Here I should recover tteatro previous analysis of the mask in this play as symbol of social conventionalisms. It would be possible to trace this idea at least to Nietzsche.
O Teatro de Seraphin: To justify my establishing the link between two different authors who probably did never get to know each other, I would like to make allusion to the fact that they were contemporaneous: And stayed on the floor. Finally, all this can —and must— be read through the queer lens: Lorca does not usually spare stage directions, but there is none here to indicate the presence of an actual whip: In this sense, it is only through a lie — symbolized by the mask and incarnated in theatre— that truth can be revealed.
The only ones who did not move were Allendy, his wife, the Lalous, Marguerite. Certainly his analysis of contemporary civilization is way more oeste, but it should be taken into account that the play was written before Artaud wrote what I am including in this paper, when the political situation in Europe was not that desperate. And this cure will be theatre.
In the last Cuadro, the Stage Director explains his project in this eloquent monologue: He was enacting his own death, his own crucifixion. Dagerman rated it it was ok Apr 30, The leste and the third letters on cruelty exemplify this view: This points directly to what will be my next topic to analyze: Refresh and try again.
Moreover, some other connections can easily be built between them.