#artaud — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #artaud, aggregated by home.social.
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Escuchando #artaud noto que hay hasta unos cencerros tocando por ahí
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Escuchando #artaud noto que hay hasta unos cencerros tocando por ahí
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Escuchando #artaud noto que hay hasta unos cencerros tocando por ahí
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Escuchando #artaud noto que hay hasta unos cencerros tocando por ahí
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oggi e domani, 28-29 marzo, a roma, al teatro di villa lazzaroni: “essere e non essere. in memoriam di carmelo bene”, di pippo di marca e giancarlo dotto
OGGI, sabato 28 marzo ore 21:00,
e DOMANI, domenica 29 marzo ore 17:30Pippo Di Marca in
ESSERE e NON ESSERE
in memoriam di Carmelo Benedi Pippo Di Marca e Giancarlo Dotto
Sabato 28 e domenica 29 marzo Essere e non essere in memoriam di Carmelo Bene al Teatro di Villa Lazzaroni è un testo di Pippo Di Marca e Giancarlo Dotto con in scena lo stesso Di Marca.
Lo spettacolo dedicato alla memoria di Carmelo Bene vuole evocare, raccontare, testimoniare momenti salienti dell’opera e della vita di Carmelo Bene, fino agli ultimi anni di malattia e di isolamento. Pippo Di Marca è una figura centrale dell’avanguardia teatrale italiana. Il suo teatro è sempre stato un luogo di sperimentazione linguistica, vocale e performativa.
Di Marca, con diverse iniziative e pubblicazioni, ha lavorato molto sul tema della memoria dei maestri e sulla necessità di custodire e trasmettere un patrimonio teatrale che rischia di perdersi.Come lui stesso spiega: “Carmelo Bene lo conobbi nel ’66 nel camerino del Teatro delle Muse, al termine di un memorabile Il rosa e il nero. Un artista debordante, che imponeva la sua Presenza, il suo ipertrofico, straordinario, carnale. Un’amicizia poi cresciuta e alimentata in decenni di frequentazioni e di spettacoli a specchio, in una sorta di cammino parallelo, di empatia, che ha segnato gran parte della mia storia teatrale. Mi ha lasciato una predisposizione alla libertà creativa assoluta, ad armeggiare con la furia, l’euforia e la parodia, a coltivare l’arbitrio, a negare, a dire no ad ogni canone, a ogni convenzione acquisita. Un gigante del teatro italiano del Novecento, un Maestro inimitabile e irraggiungibile, un maestro ‘negato’: poiché il suo ‘magistero’, come quello dei veri grandi, è unico e ‘intrasmissibile’. […] Un amico con cui e di cui sentiamo il bisogno di continuare a parlare, raccontarlo: fare memoria, presenza viva, scenica della sua poetica e della sua vita; senza tralasciare la sua ‘umanità’, la sua fiera ‘fragilità’, accentuate nei lunghi ultimi anni di malattie e volontario autoesilio. Per me è stato, insieme a Leo De Berardinis, come un fratello maggiore. È stato il Gigante del Novecento in grado di sprigionare una potenza primigenia e coltissima, erudita, un’energia misteriosa, e insieme lucida, consapevole, articolata su una gamma inesauribile di ‘umori’, di variazioni della crudeltà suonate ad altezze inarrivabili… Sul piano dell’ironia suprema penso che surclassi persino Artaud!!!”
Quando nel 2002, Carmelo Bene morì, Pippo Di Marca pensò a un omaggio immediato in memoria, dal titolo Ora che Carmelo è morto, ma la ferita era troppo aperta per aver seguito con dolore gli ultimi mesi orribili di quel calvario finale. Giusto si impose il silenzio.
“Ma era destino, o simpatetico stato di necessità, che quel mancato debutto – spiega Di Marca – diventasse un testo, che condivido con Giancarlo Dotto, che ho messo poi in scena ininterrottamente per decenni. A cominciare dal decennale della morte nel 2012. Lo spettacolo, da allora, ha preso il titolo di Essere e Non Essere, a sottolineare da una parte il suo ipertrofico Io Scenico, la sua Presenza debordante, carnale/carnascialesca, il suo ESSERE e dall’altra parte il suo rovinare tutto proteso verso il NON ESSERE, il suo radicale senso della vanità del tutto, della sottrazione, della cancellazione, dell’assoluta tensione tra vitalismo e abbandono al cupio dissolvi. Da genio assoluto, nei mesi del calvario finale, ha scritto e ci ha lasciato come suo impareggiabile, grandioso testamento artistico, il poema capolavoro ‘l mal de’ Fiori”.
TEATRO DI VILLA LAZZARONI
Via Appia Nuova 522
00179 ROMA (RM)Ingresso 22,00 €
#Artaud #CarmeloBene #cb #EssereENonEssere #GiancarloDotto #PippoDiMarca #teatro #TeatroDiVillaLazzaroni -
oggi e domani, 28-29 marzo, a roma, al teatro di villa lazzaroni: “essere e non essere. in memoriam di carmelo bene”, di pippo di marca e giancarlo dotto
OGGI, sabato 28 marzo ore 21:00,
e DOMANI, domenica 29 marzo ore 17:30Pippo Di Marca in
ESSERE e NON ESSERE
in memoriam di Carmelo Benedi Pippo Di Marca e Giancarlo Dotto
Sabato 28 e domenica 29 marzo Essere e non essere in memoriam di Carmelo Bene al Teatro di Villa Lazzaroni è un testo di Pippo Di Marca e Giancarlo Dotto con in scena lo stesso Di Marca.
Lo spettacolo dedicato alla memoria di Carmelo Bene vuole evocare, raccontare, testimoniare momenti salienti dell’opera e della vita di Carmelo Bene, fino agli ultimi anni di malattia e di isolamento. Pippo Di Marca è una figura centrale dell’avanguardia teatrale italiana. Il suo teatro è sempre stato un luogo di sperimentazione linguistica, vocale e performativa.
Di Marca, con diverse iniziative e pubblicazioni, ha lavorato molto sul tema della memoria dei maestri e sulla necessità di custodire e trasmettere un patrimonio teatrale che rischia di perdersi.Come lui stesso spiega: “Carmelo Bene lo conobbi nel ’66 nel camerino del Teatro delle Muse, al termine di un memorabile Il rosa e il nero. Un artista debordante, che imponeva la sua Presenza, il suo ipertrofico, straordinario, carnale. Un’amicizia poi cresciuta e alimentata in decenni di frequentazioni e di spettacoli a specchio, in una sorta di cammino parallelo, di empatia, che ha segnato gran parte della mia storia teatrale. Mi ha lasciato una predisposizione alla libertà creativa assoluta, ad armeggiare con la furia, l’euforia e la parodia, a coltivare l’arbitrio, a negare, a dire no ad ogni canone, a ogni convenzione acquisita. Un gigante del teatro italiano del Novecento, un Maestro inimitabile e irraggiungibile, un maestro ‘negato’: poiché il suo ‘magistero’, come quello dei veri grandi, è unico e ‘intrasmissibile’. […] Un amico con cui e di cui sentiamo il bisogno di continuare a parlare, raccontarlo: fare memoria, presenza viva, scenica della sua poetica e della sua vita; senza tralasciare la sua ‘umanità’, la sua fiera ‘fragilità’, accentuate nei lunghi ultimi anni di malattie e volontario autoesilio. Per me è stato, insieme a Leo De Berardinis, come un fratello maggiore. È stato il Gigante del Novecento in grado di sprigionare una potenza primigenia e coltissima, erudita, un’energia misteriosa, e insieme lucida, consapevole, articolata su una gamma inesauribile di ‘umori’, di variazioni della crudeltà suonate ad altezze inarrivabili… Sul piano dell’ironia suprema penso che surclassi persino Artaud!!!”
Quando nel 2002, Carmelo Bene morì, Pippo Di Marca pensò a un omaggio immediato in memoria, dal titolo Ora che Carmelo è morto, ma la ferita era troppo aperta per aver seguito con dolore gli ultimi mesi orribili di quel calvario finale. Giusto si impose il silenzio.
“Ma era destino, o simpatetico stato di necessità, che quel mancato debutto – spiega Di Marca – diventasse un testo, che condivido con Giancarlo Dotto, che ho messo poi in scena ininterrottamente per decenni. A cominciare dal decennale della morte nel 2012. Lo spettacolo, da allora, ha preso il titolo di Essere e Non Essere, a sottolineare da una parte il suo ipertrofico Io Scenico, la sua Presenza debordante, carnale/carnascialesca, il suo ESSERE e dall’altra parte il suo rovinare tutto proteso verso il NON ESSERE, il suo radicale senso della vanità del tutto, della sottrazione, della cancellazione, dell’assoluta tensione tra vitalismo e abbandono al cupio dissolvi. Da genio assoluto, nei mesi del calvario finale, ha scritto e ci ha lasciato come suo impareggiabile, grandioso testamento artistico, il poema capolavoro ‘l mal de’ Fiori”.
TEATRO DI VILLA LAZZARONI
Via Appia Nuova 522
00179 ROMA (RM)Ingresso 22,00 €
#Artaud #CarmeloBene #cb #EssereENonEssere #GiancarloDotto #PippoDiMarca #teatro #TeatroDiVillaLazzaroni -
28 e 29 marzo, roma, teatro di villa lazzaroni: “essere e non essere. in memoriam di carmelo bene”, di pippo di marca e giancarlo dotto
sabato 28 marzo ore 21:00 e domenica 29 marzo ore 17:30
Pippo Di Marca in
ESSERE e NON ESSERE
in memoriam di Carmelo Benedi Pippo Di Marca e Giancarlo Dotto
Sabato 28 e domenica 29 marzo Essere e non essere in memoriam di Carmelo Bene al Teatro di Villa Lazzaroni è un testo di Pippo Di Marca e Giancarlo Dotto con in scena lo stesso Di Marca.
Lo spettacolo dedicato alla memoria di Carmelo Bene vuole evocare, raccontare, testimoniare momenti salienti dell’opera e della vita di Carmelo Bene, fino agli ultimi anni di malattia e di isolamento. Pippo Di Marca è una figura centrale dell’avanguardia teatrale italiana. Il suo teatro è sempre stato un luogo di sperimentazione linguistica, vocale e performativa.
Di Marca, con diverse iniziative e pubblicazioni, ha lavorato molto sul tema della memoria dei maestri e sulla necessità di custodire e trasmettere un patrimonio teatrale che rischia di perdersi.Come lui stesso spiega: “Carmelo Bene lo conobbi nel ’66 nel camerino del Teatro delle Muse, al termine di un memorabile Il rosa e il nero. Un artista debordante, che imponeva la sua Presenza, il suo ipertrofico, straordinario, carnale. Un’amicizia poi cresciuta e alimentata in decenni di frequentazioni e di spettacoli a specchio, in una sorta di cammino parallelo, di empatia, che ha segnato gran parte della mia storia teatrale. Mi ha lasciato una predisposizione alla libertà creativa assoluta, ad armeggiare con la furia, l’euforia e la parodia, a coltivare l’arbitrio, a negare, a dire no ad ogni canone, a ogni convenzione acquisita. Un gigante del teatro italiano del Novecento, un Maestro inimitabile e irraggiungibile, un maestro ‘negato’: poiché il suo ‘magistero’, come quello dei veri grandi, è unico e ‘intrasmissibile’. […] Un amico con cui e di cui sentiamo il bisogno di continuare a parlare, raccontarlo: fare memoria, presenza viva, scenica della sua poetica e della sua vita; senza tralasciare la sua ‘umanità’, la sua fiera ‘fragilità’, accentuate nei lunghi ultimi anni di malattie e volontario autoesilio. Per me è stato, insieme a Leo De Berardinis, come un fratello maggiore. È stato il Gigante del Novecento in grado di sprigionare una potenza primigenia e coltissima, erudita, un’energia misteriosa, e insieme lucida, consapevole, articolata su una gamma inesauribile di ‘umori’, di variazioni della crudeltà suonate ad altezze inarrivabili… Sul piano dell’ironia suprema penso che surclassi persino Artaud!!!”
Quando nel 2002, Carmelo Bene morì, Pippo Di Marca pensò a un omaggio immediato in memoria, dal titolo Ora che Carmelo è morto, ma la ferita era troppo aperta per aver seguito con dolore gli ultimi mesi orribili di quel calvario finale. Giusto si impose il silenzio.
“Ma era destino, o simpatetico stato di necessità, che quel mancato debutto – spiega Di Marca – diventasse un testo, che condivido con Giancarlo Dotto, che ho messo poi in scena ininterrottamente per decenni. A cominciare dal decennale della morte nel 2012. Lo spettacolo, da allora, ha preso il titolo di Essere e Non Essere, a sottolineare da una parte il suo ipertrofico Io Scenico, la sua Presenza debordante, carnale/carnascialesca, il suo ESSERE e dall’altra parte il suo rovinare tutto proteso verso il NON ESSERE, il suo radicale senso della vanità del tutto, della sottrazione, della cancellazione, dell’assoluta tensione tra vitalismo e abbandono al cupio dissolvi. Da genio assoluto, nei mesi del calvario finale, ha scritto e ci ha lasciato come suo impareggiabile, grandioso testamento artistico, il poema capolavoro ‘l mal de’ Fiori”.
TEATRO DI VILLA LAZZARONI
Via Appia Nuova 522
00179 ROMA (RM)Ingresso 22,00 €
#Artaud #CarmeloBene #cb #EssereENonEssere #GiancarloDotto #PippoDiMarca #teatro #TeatroDiVillaLazzaroni -
28 e 29 marzo, roma, teatro di villa lazzaroni: “essere e non essere. in memoriam di carmelo bene”, di pippo di marca e giancarlo dotto
sabato 28 marzo ore 21:00 e domenica 29 marzo ore 17:30
Pippo Di Marca in
ESSERE e NON ESSERE
in memoriam di Carmelo Benedi Pippo Di Marca e Giancarlo Dotto
Sabato 28 e domenica 29 marzo Essere e non essere in memoriam di Carmelo Bene al Teatro di Villa Lazzaroni è un testo di Pippo Di Marca e Giancarlo Dotto con in scena lo stesso Di Marca.
Lo spettacolo dedicato alla memoria di Carmelo Bene vuole evocare, raccontare, testimoniare momenti salienti dell’opera e della vita di Carmelo Bene, fino agli ultimi anni di malattia e di isolamento. Pippo Di Marca è una figura centrale dell’avanguardia teatrale italiana. Il suo teatro è sempre stato un luogo di sperimentazione linguistica, vocale e performativa.
Di Marca, con diverse iniziative e pubblicazioni, ha lavorato molto sul tema della memoria dei maestri e sulla necessità di custodire e trasmettere un patrimonio teatrale che rischia di perdersi.Come lui stesso spiega: “Carmelo Bene lo conobbi nel ’66 nel camerino del Teatro delle Muse, al termine di un memorabile Il rosa e il nero. Un artista debordante, che imponeva la sua Presenza, il suo ipertrofico, straordinario, carnale. Un’amicizia poi cresciuta e alimentata in decenni di frequentazioni e di spettacoli a specchio, in una sorta di cammino parallelo, di empatia, che ha segnato gran parte della mia storia teatrale. Mi ha lasciato una predisposizione alla libertà creativa assoluta, ad armeggiare con la furia, l’euforia e la parodia, a coltivare l’arbitrio, a negare, a dire no ad ogni canone, a ogni convenzione acquisita. Un gigante del teatro italiano del Novecento, un Maestro inimitabile e irraggiungibile, un maestro ‘negato’: poiché il suo ‘magistero’, come quello dei veri grandi, è unico e ‘intrasmissibile’. […] Un amico con cui e di cui sentiamo il bisogno di continuare a parlare, raccontarlo: fare memoria, presenza viva, scenica della sua poetica e della sua vita; senza tralasciare la sua ‘umanità’, la sua fiera ‘fragilità’, accentuate nei lunghi ultimi anni di malattie e volontario autoesilio. Per me è stato, insieme a Leo De Berardinis, come un fratello maggiore. È stato il Gigante del Novecento in grado di sprigionare una potenza primigenia e coltissima, erudita, un’energia misteriosa, e insieme lucida, consapevole, articolata su una gamma inesauribile di ‘umori’, di variazioni della crudeltà suonate ad altezze inarrivabili… Sul piano dell’ironia suprema penso che surclassi persino Artaud!!!”
Quando nel 2002, Carmelo Bene morì, Pippo Di Marca pensò a un omaggio immediato in memoria, dal titolo Ora che Carmelo è morto, ma la ferita era troppo aperta per aver seguito con dolore gli ultimi mesi orribili di quel calvario finale. Giusto si impose il silenzio.
“Ma era destino, o simpatetico stato di necessità, che quel mancato debutto – spiega Di Marca – diventasse un testo, che condivido con Giancarlo Dotto, che ho messo poi in scena ininterrottamente per decenni. A cominciare dal decennale della morte nel 2012. Lo spettacolo, da allora, ha preso il titolo di Essere e Non Essere, a sottolineare da una parte il suo ipertrofico Io Scenico, la sua Presenza debordante, carnale/carnascialesca, il suo ESSERE e dall’altra parte il suo rovinare tutto proteso verso il NON ESSERE, il suo radicale senso della vanità del tutto, della sottrazione, della cancellazione, dell’assoluta tensione tra vitalismo e abbandono al cupio dissolvi. Da genio assoluto, nei mesi del calvario finale, ha scritto e ci ha lasciato come suo impareggiabile, grandioso testamento artistico, il poema capolavoro ‘l mal de’ Fiori”.
TEATRO DI VILLA LAZZARONI
Via Appia Nuova 522
00179 ROMA (RM)Ingresso 22,00 €
#Artaud #CarmeloBene #cb #EssereENonEssere #GiancarloDotto #PippoDiMarca #teatro #TeatroDiVillaLazzaroni -
🎭 De la rue Mouffetard à la Cartoucherie, une filiation théâtrale ressurgit autour d’Artaud, du Théâtre de l’Épée de Bois et d’une mémoire de troupe qui traverse les décennies.
🔗 https://actualitte.com/article/129710/enquetes/de-la-mouffe-a-la-cartoucherie-l-histoire-d-un-theatre-radicalUn récit où se croisent rêve, scène, transmission et histoire vivante d’un théâtre radical.
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🎭 De la rue Mouffetard à la Cartoucherie, une filiation théâtrale ressurgit autour d’Artaud, du Théâtre de l’Épée de Bois et d’une mémoire de troupe qui traverse les décennies.
🔗 https://actualitte.com/article/129710/enquetes/de-la-mouffe-a-la-cartoucherie-l-histoire-d-un-theatre-radicalUn récit où se croisent rêve, scène, transmission et histoire vivante d’un théâtre radical.
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🎭 De la rue Mouffetard à la Cartoucherie, une filiation théâtrale ressurgit autour d’Artaud, du Théâtre de l’Épée de Bois et d’une mémoire de troupe qui traverse les décennies.
🔗 https://actualitte.com/article/129710/enquetes/de-la-mouffe-a-la-cartoucherie-l-histoire-d-un-theatre-radicalUn récit où se croisent rêve, scène, transmission et histoire vivante d’un théâtre radical.
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🎭 De la rue Mouffetard à la Cartoucherie, une filiation théâtrale ressurgit autour d’Artaud, du Théâtre de l’Épée de Bois et d’une mémoire de troupe qui traverse les décennies.
🔗 https://actualitte.com/article/129710/enquetes/de-la-mouffe-a-la-cartoucherie-l-histoire-d-un-theatre-radicalUn récit où se croisent rêve, scène, transmission et histoire vivante d’un théâtre radical.
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Une planche publiée dans Le numéro 3 de Fragments Fanzine Le numéro de l'été est tjrs dispo suivez le lien : https://fragments-fanzine.fr/le-numero-4-parfait-pour-lete/
#fanzine #comics #comix #bandedessinee #bd #indiegraphics #artaud #antoninartaud
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Et si Artaud avait raison ? 🩸
« Pour en finir avec le jugement de Dieu » est un uppercut contre l'ordre moral.👉 À lire ici : https://lesheureslesplussombres.com/pour-en-finir-avec-le-jugement-de-dieu/
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Et si Artaud avait raison ? 🩸
« Pour en finir avec le jugement de Dieu » est un uppercut contre l'ordre moral.👉 À lire ici : https://lesheureslesplussombres.com/pour-en-finir-avec-le-jugement-de-dieu/
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Imagination, to Artaud, was reality; he considered dreams, thoughts and delusions as no less real than the "outside" world. To him, reality appeared to be a consensus, the same consensus the audience accepts when they enter a theatre to see a play and, for a time, pretend that what they are seeing is real.
Artaud saw suffering as essential to existence and thus rejected all utopias as inevitable dystopia. He denounced the degradation of civilization, yearned for cosmic purification, and called for an ecstatic loss of the self. Hence Jane Goodall considers Artaud to be a modern Gnostic while Ulli Seegers stresses the Hermetic elements in his works.
"Artaud sought to remove aesthetic distance, bringing the audience into direct contact with the dangers of life. By turning theatre into a place where the spectator is exposed rather than protected, Artaud was committing an act of cruelty upon them." – Lee Jamieson, Antonin Artaud: From Theory to Practice, Greenwich Exchange, 2007, p.23
Artaud was the surgeon of the real.
The Seashell and the Clergyman (French: La Coquille et le clergyman) is considered by many to be the first surrealist film. It was directed by Germaine Dulac, from an original scenario by Antonin Artaud, and premiered in Paris on 9 February 1928. The film follows the erotic hallucinations of a priest lusting after the wife of a general.
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema
https://soulvlog.blogspot.com/2011/07/la-coquille-et-le-clergyman-1926.html
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Imagination, to Artaud, was reality; he considered dreams, thoughts and delusions as no less real than the "outside" world. To him, reality appeared to be a consensus, the same consensus the audience accepts when they enter a theatre to see a play and, for a time, pretend that what they are seeing is real.
Artaud saw suffering as essential to existence and thus rejected all utopias as inevitable dystopia. He denounced the degradation of civilization, yearned for cosmic purification, and called for an ecstatic loss of the self. Hence Jane Goodall considers Artaud to be a modern Gnostic while Ulli Seegers stresses the Hermetic elements in his works.
"Artaud sought to remove aesthetic distance, bringing the audience into direct contact with the dangers of life. By turning theatre into a place where the spectator is exposed rather than protected, Artaud was committing an act of cruelty upon them." – Lee Jamieson, Antonin Artaud: From Theory to Practice, Greenwich Exchange, 2007, p.23
Artaud was the surgeon of the real.
The Seashell and the Clergyman (French: La Coquille et le clergyman) is considered by many to be the first surrealist film. It was directed by Germaine Dulac, from an original scenario by Antonin Artaud, and premiered in Paris on 9 February 1928. The film follows the erotic hallucinations of a priest lusting after the wife of a general.
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema
https://soulvlog.blogspot.com/2011/07/la-coquille-et-le-clergyman-1926.html
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Imagination, to Artaud, was reality; he considered dreams, thoughts and delusions as no less real than the "outside" world. To him, reality appeared to be a consensus, the same consensus the audience accepts when they enter a theatre to see a play and, for a time, pretend that what they are seeing is real.
Artaud saw suffering as essential to existence and thus rejected all utopias as inevitable dystopia. He denounced the degradation of civilization, yearned for cosmic purification, and called for an ecstatic loss of the self. Hence Jane Goodall considers Artaud to be a modern Gnostic while Ulli Seegers stresses the Hermetic elements in his works.
"Artaud sought to remove aesthetic distance, bringing the audience into direct contact with the dangers of life. By turning theatre into a place where the spectator is exposed rather than protected, Artaud was committing an act of cruelty upon them." – Lee Jamieson, Antonin Artaud: From Theory to Practice, Greenwich Exchange, 2007, p.23
Artaud was the surgeon of the real.
The Seashell and the Clergyman (French: La Coquille et le clergyman) is considered by many to be the first surrealist film. It was directed by Germaine Dulac, from an original scenario by Antonin Artaud, and premiered in Paris on 9 February 1928. The film follows the erotic hallucinations of a priest lusting after the wife of a general.
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema
https://soulvlog.blogspot.com/2011/07/la-coquille-et-le-clergyman-1926.html
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Imagination, to Artaud, was reality; he considered dreams, thoughts and delusions as no less real than the "outside" world. To him, reality appeared to be a consensus, the same consensus the audience accepts when they enter a theatre to see a play and, for a time, pretend that what they are seeing is real.
Artaud saw suffering as essential to existence and thus rejected all utopias as inevitable dystopia. He denounced the degradation of civilization, yearned for cosmic purification, and called for an ecstatic loss of the self. Hence Jane Goodall considers Artaud to be a modern Gnostic while Ulli Seegers stresses the Hermetic elements in his works.
"Artaud sought to remove aesthetic distance, bringing the audience into direct contact with the dangers of life. By turning theatre into a place where the spectator is exposed rather than protected, Artaud was committing an act of cruelty upon them." – Lee Jamieson, Antonin Artaud: From Theory to Practice, Greenwich Exchange, 2007, p.23
Artaud was the surgeon of the real.
The Seashell and the Clergyman (French: La Coquille et le clergyman) is considered by many to be the first surrealist film. It was directed by Germaine Dulac, from an original scenario by Antonin Artaud, and premiered in Paris on 9 February 1928. The film follows the erotic hallucinations of a priest lusting after the wife of a general.
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema
https://soulvlog.blogspot.com/2011/07/la-coquille-et-le-clergyman-1926.html
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Anyone who knows the writings of Antonin Artaud knows he spent time with the Raramuri people of Sierra Madre;also called Tarahumara by outsiders. This video is about the Tarahumara as runners. If you are unfamiliar with Artaud, here is an online text, The Secret Art of Antonin Artaud (PDF 109 pages accessable from the link below)by Jacques Derrida and Paule Thvenin, which may help.
The first work of the Theatre of Cruelty Artaud initially intended for the stage was entitled The Conquest of Mexico, a work based on the Aztec religion and other primitive cultures of the Americas. Partly to escape his numerous failures in Paris, Artaud left for Mexico in 1936 to do research for this play and live in a land where he believed "a new idea of man [was] being born." Unfortunately, Artaud encountered a culture heavily influenced by the same European ideas he was fleeing. The playwright encountered Communist inspired political unrest and an intellectual coeterie of writers and artists, such as Diego Rivera, David Siqueiros, and JosÎ Clemente, who were adapting modern European styles to depict their own culture. Since Artaud was trying to escape these European styles and ideas, he found himself alienated from the Mexican artists and intellectuals and, unable to speak Spanish, soon felt isolated in a land that he hoped would provide some form of salvation for him. Perhaps as a consequence, he spent much of his time in Mexico City searching for drugs. He did befriend LuÏs Cardoza y Aragon, a surrealist poet Artaud had initially met in Paris. Aragon helped Artaud financially by arranging lectures and translating articles for the Frenchman.
Strangely, Artaud had no interest in the Aztec ruins nearby, which had become tourist sites by this point. Artaud yearned to witness authentic culture untouched by Western influence. Accordingly, Artaud arranged to visit the Tarahumaras, an isolated tribe in the Sierra Madre of Northern Mexico who made use of peyote in their religious rites. During this arduous journey, Artaud experienced a painful bout of drug withdrawal. Once there, however, Artaud participated in one of the peyote rituals. What else happened during this visit, we have only authorís own reports. Many of these reports were written or revised several years after original visit and were shaped to conform to Artaudís belief system at the time, so their veracity is questionable. These pieces were published posthumously as the A Voyage to the Land of the Tarahumara. In this work, Artaud describes a world full of syncretic symbols - crosses, faces in stone - a perfect blending of primitive symbolism and nature, which, for Artaud, typified the lost pre-Renaissance understanding of the world. He also described the peyote ceremony, during which he experienced the ìswirling energies of the earth below. (From Little Blue Light)
There are currently about 50,000 Tarahumara living in the Sierra Madre Occidental in northwestern Mexico. They live in small isolated clusters with most the population concentrated in the Barranca del Cobre, or the Copper Canyon. The Tarahumara indians are part of the Uto-Aztecan indian lineage and are closely related to the Apaches of the Southwestern United States. The area of Northwest Mexico that the Tarahumara lives in is very rugged and unforgiving. The Barranca del Cobre is a chain of five very deep canyons surrounded by very tall mountains that reach almost a mile and a half above sea level. Three of the five canyons are deeper than the Grand Canyon of the United States. The area is different though because it receives much more rainfall and is covered with more vegetation. The terrain is very rugged, so much as to lead to the fact that the area has never been thoroughly mapped or explored (Lutz 66). The area is one of th e coldest in Mexico and soil conditions are very poor. It is because of this that the Tarahumara are semi-nomadic and are cave dwellers for part of the year. (From Running Feet by Art Beauregard)
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema #Psychedelics #Indigenous
https://soulvlog.blogspot.com/2008/12/journey-to-tarahumara.html
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Anyone who knows the writings of Antonin Artaud knows he spent time with the Raramuri people of Sierra Madre;also called Tarahumara by outsiders. This video is about the Tarahumara as runners. If you are unfamiliar with Artaud, here is an online text, The Secret Art of Antonin Artaud (PDF 109 pages accessable from the link below)by Jacques Derrida and Paule Thvenin, which may help.
The first work of the Theatre of Cruelty Artaud initially intended for the stage was entitled The Conquest of Mexico, a work based on the Aztec religion and other primitive cultures of the Americas. Partly to escape his numerous failures in Paris, Artaud left for Mexico in 1936 to do research for this play and live in a land where he believed "a new idea of man [was] being born." Unfortunately, Artaud encountered a culture heavily influenced by the same European ideas he was fleeing. The playwright encountered Communist inspired political unrest and an intellectual coeterie of writers and artists, such as Diego Rivera, David Siqueiros, and JosÎ Clemente, who were adapting modern European styles to depict their own culture. Since Artaud was trying to escape these European styles and ideas, he found himself alienated from the Mexican artists and intellectuals and, unable to speak Spanish, soon felt isolated in a land that he hoped would provide some form of salvation for him. Perhaps as a consequence, he spent much of his time in Mexico City searching for drugs. He did befriend LuÏs Cardoza y Aragon, a surrealist poet Artaud had initially met in Paris. Aragon helped Artaud financially by arranging lectures and translating articles for the Frenchman.
Strangely, Artaud had no interest in the Aztec ruins nearby, which had become tourist sites by this point. Artaud yearned to witness authentic culture untouched by Western influence. Accordingly, Artaud arranged to visit the Tarahumaras, an isolated tribe in the Sierra Madre of Northern Mexico who made use of peyote in their religious rites. During this arduous journey, Artaud experienced a painful bout of drug withdrawal. Once there, however, Artaud participated in one of the peyote rituals. What else happened during this visit, we have only authorís own reports. Many of these reports were written or revised several years after original visit and were shaped to conform to Artaudís belief system at the time, so their veracity is questionable. These pieces were published posthumously as the A Voyage to the Land of the Tarahumara. In this work, Artaud describes a world full of syncretic symbols - crosses, faces in stone - a perfect blending of primitive symbolism and nature, which, for Artaud, typified the lost pre-Renaissance understanding of the world. He also described the peyote ceremony, during which he experienced the ìswirling energies of the earth below. (From Little Blue Light)
There are currently about 50,000 Tarahumara living in the Sierra Madre Occidental in northwestern Mexico. They live in small isolated clusters with most the population concentrated in the Barranca del Cobre, or the Copper Canyon. The Tarahumara indians are part of the Uto-Aztecan indian lineage and are closely related to the Apaches of the Southwestern United States. The area of Northwest Mexico that the Tarahumara lives in is very rugged and unforgiving. The Barranca del Cobre is a chain of five very deep canyons surrounded by very tall mountains that reach almost a mile and a half above sea level. Three of the five canyons are deeper than the Grand Canyon of the United States. The area is different though because it receives much more rainfall and is covered with more vegetation. The terrain is very rugged, so much as to lead to the fact that the area has never been thoroughly mapped or explored (Lutz 66). The area is one of th e coldest in Mexico and soil conditions are very poor. It is because of this that the Tarahumara are semi-nomadic and are cave dwellers for part of the year. (From Running Feet by Art Beauregard)
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema #Psychedelics #Indigenous
https://soulvlog.blogspot.com/2008/12/journey-to-tarahumara.html
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Anyone who knows the writings of Antonin Artaud knows he spent time with the Raramuri people of Sierra Madre;also called Tarahumara by outsiders. This video is about the Tarahumara as runners. If you are unfamiliar with Artaud, here is an online text, The Secret Art of Antonin Artaud (PDF 109 pages accessable from the link below)by Jacques Derrida and Paule Thvenin, which may help.
The first work of the Theatre of Cruelty Artaud initially intended for the stage was entitled The Conquest of Mexico, a work based on the Aztec religion and other primitive cultures of the Americas. Partly to escape his numerous failures in Paris, Artaud left for Mexico in 1936 to do research for this play and live in a land where he believed "a new idea of man [was] being born." Unfortunately, Artaud encountered a culture heavily influenced by the same European ideas he was fleeing. The playwright encountered Communist inspired political unrest and an intellectual coeterie of writers and artists, such as Diego Rivera, David Siqueiros, and JosÎ Clemente, who were adapting modern European styles to depict their own culture. Since Artaud was trying to escape these European styles and ideas, he found himself alienated from the Mexican artists and intellectuals and, unable to speak Spanish, soon felt isolated in a land that he hoped would provide some form of salvation for him. Perhaps as a consequence, he spent much of his time in Mexico City searching for drugs. He did befriend LuÏs Cardoza y Aragon, a surrealist poet Artaud had initially met in Paris. Aragon helped Artaud financially by arranging lectures and translating articles for the Frenchman.
Strangely, Artaud had no interest in the Aztec ruins nearby, which had become tourist sites by this point. Artaud yearned to witness authentic culture untouched by Western influence. Accordingly, Artaud arranged to visit the Tarahumaras, an isolated tribe in the Sierra Madre of Northern Mexico who made use of peyote in their religious rites. During this arduous journey, Artaud experienced a painful bout of drug withdrawal. Once there, however, Artaud participated in one of the peyote rituals. What else happened during this visit, we have only authorís own reports. Many of these reports were written or revised several years after original visit and were shaped to conform to Artaudís belief system at the time, so their veracity is questionable. These pieces were published posthumously as the A Voyage to the Land of the Tarahumara. In this work, Artaud describes a world full of syncretic symbols - crosses, faces in stone - a perfect blending of primitive symbolism and nature, which, for Artaud, typified the lost pre-Renaissance understanding of the world. He also described the peyote ceremony, during which he experienced the ìswirling energies of the earth below. (From Little Blue Light)
There are currently about 50,000 Tarahumara living in the Sierra Madre Occidental in northwestern Mexico. They live in small isolated clusters with most the population concentrated in the Barranca del Cobre, or the Copper Canyon. The Tarahumara indians are part of the Uto-Aztecan indian lineage and are closely related to the Apaches of the Southwestern United States. The area of Northwest Mexico that the Tarahumara lives in is very rugged and unforgiving. The Barranca del Cobre is a chain of five very deep canyons surrounded by very tall mountains that reach almost a mile and a half above sea level. Three of the five canyons are deeper than the Grand Canyon of the United States. The area is different though because it receives much more rainfall and is covered with more vegetation. The terrain is very rugged, so much as to lead to the fact that the area has never been thoroughly mapped or explored (Lutz 66). The area is one of th e coldest in Mexico and soil conditions are very poor. It is because of this that the Tarahumara are semi-nomadic and are cave dwellers for part of the year. (From Running Feet by Art Beauregard)
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema #Psychedelics #Indigenous
https://soulvlog.blogspot.com/2008/12/journey-to-tarahumara.html
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Anyone who knows the writings of Antonin Artaud knows he spent time with the Raramuri people of Sierra Madre;also called Tarahumara by outsiders. This video is about the Tarahumara as runners. If you are unfamiliar with Artaud, here is an online text, The Secret Art of Antonin Artaud (PDF 109 pages accessable from the link below)by Jacques Derrida and Paule Thvenin, which may help.
The first work of the Theatre of Cruelty Artaud initially intended for the stage was entitled The Conquest of Mexico, a work based on the Aztec religion and other primitive cultures of the Americas. Partly to escape his numerous failures in Paris, Artaud left for Mexico in 1936 to do research for this play and live in a land where he believed "a new idea of man [was] being born." Unfortunately, Artaud encountered a culture heavily influenced by the same European ideas he was fleeing. The playwright encountered Communist inspired political unrest and an intellectual coeterie of writers and artists, such as Diego Rivera, David Siqueiros, and JosÎ Clemente, who were adapting modern European styles to depict their own culture. Since Artaud was trying to escape these European styles and ideas, he found himself alienated from the Mexican artists and intellectuals and, unable to speak Spanish, soon felt isolated in a land that he hoped would provide some form of salvation for him. Perhaps as a consequence, he spent much of his time in Mexico City searching for drugs. He did befriend LuÏs Cardoza y Aragon, a surrealist poet Artaud had initially met in Paris. Aragon helped Artaud financially by arranging lectures and translating articles for the Frenchman.
Strangely, Artaud had no interest in the Aztec ruins nearby, which had become tourist sites by this point. Artaud yearned to witness authentic culture untouched by Western influence. Accordingly, Artaud arranged to visit the Tarahumaras, an isolated tribe in the Sierra Madre of Northern Mexico who made use of peyote in their religious rites. During this arduous journey, Artaud experienced a painful bout of drug withdrawal. Once there, however, Artaud participated in one of the peyote rituals. What else happened during this visit, we have only authorís own reports. Many of these reports were written or revised several years after original visit and were shaped to conform to Artaudís belief system at the time, so their veracity is questionable. These pieces were published posthumously as the A Voyage to the Land of the Tarahumara. In this work, Artaud describes a world full of syncretic symbols - crosses, faces in stone - a perfect blending of primitive symbolism and nature, which, for Artaud, typified the lost pre-Renaissance understanding of the world. He also described the peyote ceremony, during which he experienced the ìswirling energies of the earth below. (From Little Blue Light)
There are currently about 50,000 Tarahumara living in the Sierra Madre Occidental in northwestern Mexico. They live in small isolated clusters with most the population concentrated in the Barranca del Cobre, or the Copper Canyon. The Tarahumara indians are part of the Uto-Aztecan indian lineage and are closely related to the Apaches of the Southwestern United States. The area of Northwest Mexico that the Tarahumara lives in is very rugged and unforgiving. The Barranca del Cobre is a chain of five very deep canyons surrounded by very tall mountains that reach almost a mile and a half above sea level. Three of the five canyons are deeper than the Grand Canyon of the United States. The area is different though because it receives much more rainfall and is covered with more vegetation. The terrain is very rugged, so much as to lead to the fact that the area has never been thoroughly mapped or explored (Lutz 66). The area is one of th e coldest in Mexico and soil conditions are very poor. It is because of this that the Tarahumara are semi-nomadic and are cave dwellers for part of the year. (From Running Feet by Art Beauregard)
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema #Psychedelics #Indigenous
https://soulvlog.blogspot.com/2008/12/journey-to-tarahumara.html
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Anyone who knows the writings of Antonin Artaud knows he spent time with the Raramuri people of Sierra Madre;also called Tarahumara by outsiders. This video is about the Tarahumara as runners. If you are unfamiliar with Artaud, here is an online text, The Secret Art of Antonin Artaud (PDF 109 pages accessable from the link below)by Jacques Derrida and Paule Thvenin, which may help.
The first work of the Theatre of Cruelty Artaud initially intended for the stage was entitled The Conquest of Mexico, a work based on the Aztec religion and other primitive cultures of the Americas. Partly to escape his numerous failures in Paris, Artaud left for Mexico in 1936 to do research for this play and live in a land where he believed "a new idea of man [was] being born." Unfortunately, Artaud encountered a culture heavily influenced by the same European ideas he was fleeing. The playwright encountered Communist inspired political unrest and an intellectual coeterie of writers and artists, such as Diego Rivera, David Siqueiros, and JosÎ Clemente, who were adapting modern European styles to depict their own culture. Since Artaud was trying to escape these European styles and ideas, he found himself alienated from the Mexican artists and intellectuals and, unable to speak Spanish, soon felt isolated in a land that he hoped would provide some form of salvation for him. Perhaps as a consequence, he spent much of his time in Mexico City searching for drugs. He did befriend LuÏs Cardoza y Aragon, a surrealist poet Artaud had initially met in Paris. Aragon helped Artaud financially by arranging lectures and translating articles for the Frenchman.
Strangely, Artaud had no interest in the Aztec ruins nearby, which had become tourist sites by this point. Artaud yearned to witness authentic culture untouched by Western influence. Accordingly, Artaud arranged to visit the Tarahumaras, an isolated tribe in the Sierra Madre of Northern Mexico who made use of peyote in their religious rites. During this arduous journey, Artaud experienced a painful bout of drug withdrawal. Once there, however, Artaud participated in one of the peyote rituals. What else happened during this visit, we have only authorís own reports. Many of these reports were written or revised several years after original visit and were shaped to conform to Artaudís belief system at the time, so their veracity is questionable. These pieces were published posthumously as the A Voyage to the Land of the Tarahumara. In this work, Artaud describes a world full of syncretic symbols - crosses, faces in stone - a perfect blending of primitive symbolism and nature, which, for Artaud, typified the lost pre-Renaissance understanding of the world. He also described the peyote ceremony, during which he experienced the ìswirling energies of the earth below. (From Little Blue Light)
There are currently about 50,000 Tarahumara living in the Sierra Madre Occidental in northwestern Mexico. They live in small isolated clusters with most the population concentrated in the Barranca del Cobre, or the Copper Canyon. The Tarahumara indians are part of the Uto-Aztecan indian lineage and are closely related to the Apaches of the Southwestern United States. The area of Northwest Mexico that the Tarahumara lives in is very rugged and unforgiving. The Barranca del Cobre is a chain of five very deep canyons surrounded by very tall mountains that reach almost a mile and a half above sea level. Three of the five canyons are deeper than the Grand Canyon of the United States. The area is different though because it receives much more rainfall and is covered with more vegetation. The terrain is very rugged, so much as to lead to the fact that the area has never been thoroughly mapped or explored (Lutz 66). The area is one of th e coldest in Mexico and soil conditions are very poor. It is because of this that the Tarahumara are semi-nomadic and are cave dwellers for part of the year. (From Running Feet by Art Beauregard)
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema #Psychedelics #Indigenous
https://soulvlog.blogspot.com/2008/12/journey-to-tarahumara.html
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Antonin Artaud’s The Theater and the Plague is an international cinematic reading of the essay "The theater and the plague“ by the French poet Antonin Artaud (1896-1948) in the face of the coronavirus pandemic. Directed by Wolfgang Pannek, co-director of Taanteatro Companhia (São Paulo, Brazil), the project is a collaboration of artists and academics from five continents and engaged in multiperspectivist reflection on the critical tension between „death and cure“.
In The Theatre and the Plague, the first, now prophetic-iconic text from his best-known book, The Theater and its Double, originally presented as a peformative lecture on April 6, 1933, at the Sorbonne, Artaud develops the foundations of the „Theater of Cruelty“ by establishing an analogy between the rupture of the civilizational order caused by the "plague" and the "convulsive passions" triggered by the virulence of his transgressive theatrical poetics.
The Artaudian text was divided into 8 distinct segments (in turn divided into sub-segments), each with a specific thematic focus. Each collaborating artist accepted the challenge of developing an audio-visual dramaturgy (and recording Artaud's text in their respective language), corresponding to the segment to be addressed. The only creative indication given to the artists was to perform a cinematographic reading of Artaud's text in the light of their subjective experiences conected to their respective geographical locations, and under the conditions of limited circulation and social distancing in pandemic times. This work process, recorded with simple digital cameras, cell phones or IPads, resulted in a set of 18 films, lasting between 4 and 11 minutes each).
In addition, the audio-visual collection of these cinematic narratives was re-edited for the feature film Antonin Artaud's The Theater and the Plague (62 min., 11 languages, English subtitles). The film presents the text of “The Theater and the Pest ”in its entirety and brings together people, landscapes and sensibilities ranging from São Paulo to Paris, from Brisbane to Garðabær, and from Maputo to Khon Kaen.
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema
https://soulvlog.blogspot.com/2020/08/antonin-artauds-theatre-and-plague.html
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Antonin Artaud’s The Theater and the Plague is an international cinematic reading of the essay "The theater and the plague“ by the French poet Antonin Artaud (1896-1948) in the face of the coronavirus pandemic. Directed by Wolfgang Pannek, co-director of Taanteatro Companhia (São Paulo, Brazil), the project is a collaboration of artists and academics from five continents and engaged in multiperspectivist reflection on the critical tension between „death and cure“.
In The Theatre and the Plague, the first, now prophetic-iconic text from his best-known book, The Theater and its Double, originally presented as a peformative lecture on April 6, 1933, at the Sorbonne, Artaud develops the foundations of the „Theater of Cruelty“ by establishing an analogy between the rupture of the civilizational order caused by the "plague" and the "convulsive passions" triggered by the virulence of his transgressive theatrical poetics.
The Artaudian text was divided into 8 distinct segments (in turn divided into sub-segments), each with a specific thematic focus. Each collaborating artist accepted the challenge of developing an audio-visual dramaturgy (and recording Artaud's text in their respective language), corresponding to the segment to be addressed. The only creative indication given to the artists was to perform a cinematographic reading of Artaud's text in the light of their subjective experiences conected to their respective geographical locations, and under the conditions of limited circulation and social distancing in pandemic times. This work process, recorded with simple digital cameras, cell phones or IPads, resulted in a set of 18 films, lasting between 4 and 11 minutes each).
In addition, the audio-visual collection of these cinematic narratives was re-edited for the feature film Antonin Artaud's The Theater and the Plague (62 min., 11 languages, English subtitles). The film presents the text of “The Theater and the Pest ”in its entirety and brings together people, landscapes and sensibilities ranging from São Paulo to Paris, from Brisbane to Garðabær, and from Maputo to Khon Kaen.
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema
https://soulvlog.blogspot.com/2020/08/antonin-artauds-theatre-and-plague.html
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Antonin Artaud’s The Theater and the Plague is an international cinematic reading of the essay "The theater and the plague“ by the French poet Antonin Artaud (1896-1948) in the face of the coronavirus pandemic. Directed by Wolfgang Pannek, co-director of Taanteatro Companhia (São Paulo, Brazil), the project is a collaboration of artists and academics from five continents and engaged in multiperspectivist reflection on the critical tension between „death and cure“.
In The Theatre and the Plague, the first, now prophetic-iconic text from his best-known book, The Theater and its Double, originally presented as a peformative lecture on April 6, 1933, at the Sorbonne, Artaud develops the foundations of the „Theater of Cruelty“ by establishing an analogy between the rupture of the civilizational order caused by the "plague" and the "convulsive passions" triggered by the virulence of his transgressive theatrical poetics.
The Artaudian text was divided into 8 distinct segments (in turn divided into sub-segments), each with a specific thematic focus. Each collaborating artist accepted the challenge of developing an audio-visual dramaturgy (and recording Artaud's text in their respective language), corresponding to the segment to be addressed. The only creative indication given to the artists was to perform a cinematographic reading of Artaud's text in the light of their subjective experiences conected to their respective geographical locations, and under the conditions of limited circulation and social distancing in pandemic times. This work process, recorded with simple digital cameras, cell phones or IPads, resulted in a set of 18 films, lasting between 4 and 11 minutes each).
In addition, the audio-visual collection of these cinematic narratives was re-edited for the feature film Antonin Artaud's The Theater and the Plague (62 min., 11 languages, English subtitles). The film presents the text of “The Theater and the Pest ”in its entirety and brings together people, landscapes and sensibilities ranging from São Paulo to Paris, from Brisbane to Garðabær, and from Maputo to Khon Kaen.
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema
https://soulvlog.blogspot.com/2020/08/antonin-artauds-theatre-and-plague.html
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Antonin Artaud’s The Theater and the Plague is an international cinematic reading of the essay "The theater and the plague“ by the French poet Antonin Artaud (1896-1948) in the face of the coronavirus pandemic. Directed by Wolfgang Pannek, co-director of Taanteatro Companhia (São Paulo, Brazil), the project is a collaboration of artists and academics from five continents and engaged in multiperspectivist reflection on the critical tension between „death and cure“.
In The Theatre and the Plague, the first, now prophetic-iconic text from his best-known book, The Theater and its Double, originally presented as a peformative lecture on April 6, 1933, at the Sorbonne, Artaud develops the foundations of the „Theater of Cruelty“ by establishing an analogy between the rupture of the civilizational order caused by the "plague" and the "convulsive passions" triggered by the virulence of his transgressive theatrical poetics.
The Artaudian text was divided into 8 distinct segments (in turn divided into sub-segments), each with a specific thematic focus. Each collaborating artist accepted the challenge of developing an audio-visual dramaturgy (and recording Artaud's text in their respective language), corresponding to the segment to be addressed. The only creative indication given to the artists was to perform a cinematographic reading of Artaud's text in the light of their subjective experiences conected to their respective geographical locations, and under the conditions of limited circulation and social distancing in pandemic times. This work process, recorded with simple digital cameras, cell phones or IPads, resulted in a set of 18 films, lasting between 4 and 11 minutes each).
In addition, the audio-visual collection of these cinematic narratives was re-edited for the feature film Antonin Artaud's The Theater and the Plague (62 min., 11 languages, English subtitles). The film presents the text of “The Theater and the Pest ”in its entirety and brings together people, landscapes and sensibilities ranging from São Paulo to Paris, from Brisbane to Garðabær, and from Maputo to Khon Kaen.
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema
https://soulvlog.blogspot.com/2020/08/antonin-artauds-theatre-and-plague.html
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"The True Story of Artaud le Mômo", by Gérard Mordillat and Jérôme Prieur, produced in 1993. With English subtitles.
Attendees: Luciane Abiet, Jacqueline Adamov, André Berne-Joffroy, Annie Besnard-Faure, Gustav Bolin, Denise Colomb , Pierre Courtens, Alain Gheerbrant, Alfred Kern, Gervais Marchal, Domnine Milliex, Minouche Pastier, Henri Pichette, Marcel Piffret, Rolande Prevel, Marthe Robert, Jany Seiden de Ruy, Paule Thévenin and Henri Thomas.
Note: Poet, man of the theatre, actor, Antonin Artaud (1896-1948) is the author of an immense body of work among which is The Theater and its Double, The Voyage to the land of the Tarahumaras, Van Gogh the suicide of society, Artaud the Mômo... On May 26, 1946, after nine years of internment in various asylums and finally at the Rodez hospice, Antonin Artaud returned to Paris, welcomed at the Gare d' Austerlitz by his friends Henri and Colette Thomas, Jean Dubuffet and Marthe Robert... Arthur Adamov and Marthe Robert having guaranteed his material life, he will now live at the Maison de Santé in Ivry, under the authority of Dr. Delmas who will provide him with a pavilion and will leave him completely free of his time and his movements. We want to revisit the friends of Antonin Artaud, his loves, his companions the path he took, to find in their memory the places he frequented, to redo his journey between the clinic of Ivry and Saint-Germain-des- Prés, in the Paris of the immediate post-war period. That is to say that we want to find the voice of Artaud, his face, his presence, in the voice, the face, the presence of those who accompanied him, and whose life he changed: Paule Thévenin, Henri Thomas, Marthe Robert, Anie Besnard, Jany de Ruy, Rolande Prevel, Henri Pichette...
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema
https://soulvlog.blogspot.com/2023/03/the-true-story-of-artaud-le-momo-1993.html
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"The True Story of Artaud le Mômo", by Gérard Mordillat and Jérôme Prieur, produced in 1993. With English subtitles.
Attendees: Luciane Abiet, Jacqueline Adamov, André Berne-Joffroy, Annie Besnard-Faure, Gustav Bolin, Denise Colomb , Pierre Courtens, Alain Gheerbrant, Alfred Kern, Gervais Marchal, Domnine Milliex, Minouche Pastier, Henri Pichette, Marcel Piffret, Rolande Prevel, Marthe Robert, Jany Seiden de Ruy, Paule Thévenin and Henri Thomas.
Note: Poet, man of the theatre, actor, Antonin Artaud (1896-1948) is the author of an immense body of work among which is The Theater and its Double, The Voyage to the land of the Tarahumaras, Van Gogh the suicide of society, Artaud the Mômo... On May 26, 1946, after nine years of internment in various asylums and finally at the Rodez hospice, Antonin Artaud returned to Paris, welcomed at the Gare d' Austerlitz by his friends Henri and Colette Thomas, Jean Dubuffet and Marthe Robert... Arthur Adamov and Marthe Robert having guaranteed his material life, he will now live at the Maison de Santé in Ivry, under the authority of Dr. Delmas who will provide him with a pavilion and will leave him completely free of his time and his movements. We want to revisit the friends of Antonin Artaud, his loves, his companions the path he took, to find in their memory the places he frequented, to redo his journey between the clinic of Ivry and Saint-Germain-des- Prés, in the Paris of the immediate post-war period. That is to say that we want to find the voice of Artaud, his face, his presence, in the voice, the face, the presence of those who accompanied him, and whose life he changed: Paule Thévenin, Henri Thomas, Marthe Robert, Anie Besnard, Jany de Ruy, Rolande Prevel, Henri Pichette...
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema
https://soulvlog.blogspot.com/2023/03/the-true-story-of-artaud-le-momo-1993.html
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"The True Story of Artaud le Mômo", by Gérard Mordillat and Jérôme Prieur, produced in 1993. With English subtitles.
Attendees: Luciane Abiet, Jacqueline Adamov, André Berne-Joffroy, Annie Besnard-Faure, Gustav Bolin, Denise Colomb , Pierre Courtens, Alain Gheerbrant, Alfred Kern, Gervais Marchal, Domnine Milliex, Minouche Pastier, Henri Pichette, Marcel Piffret, Rolande Prevel, Marthe Robert, Jany Seiden de Ruy, Paule Thévenin and Henri Thomas.
Note: Poet, man of the theatre, actor, Antonin Artaud (1896-1948) is the author of an immense body of work among which is The Theater and its Double, The Voyage to the land of the Tarahumaras, Van Gogh the suicide of society, Artaud the Mômo... On May 26, 1946, after nine years of internment in various asylums and finally at the Rodez hospice, Antonin Artaud returned to Paris, welcomed at the Gare d' Austerlitz by his friends Henri and Colette Thomas, Jean Dubuffet and Marthe Robert... Arthur Adamov and Marthe Robert having guaranteed his material life, he will now live at the Maison de Santé in Ivry, under the authority of Dr. Delmas who will provide him with a pavilion and will leave him completely free of his time and his movements. We want to revisit the friends of Antonin Artaud, his loves, his companions the path he took, to find in their memory the places he frequented, to redo his journey between the clinic of Ivry and Saint-Germain-des- Prés, in the Paris of the immediate post-war period. That is to say that we want to find the voice of Artaud, his face, his presence, in the voice, the face, the presence of those who accompanied him, and whose life he changed: Paule Thévenin, Henri Thomas, Marthe Robert, Anie Besnard, Jany de Ruy, Rolande Prevel, Henri Pichette...
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema
https://soulvlog.blogspot.com/2023/03/the-true-story-of-artaud-le-momo-1993.html
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"The True Story of Artaud le Mômo", by Gérard Mordillat and Jérôme Prieur, produced in 1993. With English subtitles.
Attendees: Luciane Abiet, Jacqueline Adamov, André Berne-Joffroy, Annie Besnard-Faure, Gustav Bolin, Denise Colomb , Pierre Courtens, Alain Gheerbrant, Alfred Kern, Gervais Marchal, Domnine Milliex, Minouche Pastier, Henri Pichette, Marcel Piffret, Rolande Prevel, Marthe Robert, Jany Seiden de Ruy, Paule Thévenin and Henri Thomas.
Note: Poet, man of the theatre, actor, Antonin Artaud (1896-1948) is the author of an immense body of work among which is The Theater and its Double, The Voyage to the land of the Tarahumaras, Van Gogh the suicide of society, Artaud the Mômo... On May 26, 1946, after nine years of internment in various asylums and finally at the Rodez hospice, Antonin Artaud returned to Paris, welcomed at the Gare d' Austerlitz by his friends Henri and Colette Thomas, Jean Dubuffet and Marthe Robert... Arthur Adamov and Marthe Robert having guaranteed his material life, he will now live at the Maison de Santé in Ivry, under the authority of Dr. Delmas who will provide him with a pavilion and will leave him completely free of his time and his movements. We want to revisit the friends of Antonin Artaud, his loves, his companions the path he took, to find in their memory the places he frequented, to redo his journey between the clinic of Ivry and Saint-Germain-des- Prés, in the Paris of the immediate post-war period. That is to say that we want to find the voice of Artaud, his face, his presence, in the voice, the face, the presence of those who accompanied him, and whose life he changed: Paule Thévenin, Henri Thomas, Marthe Robert, Anie Besnard, Jany de Ruy, Rolande Prevel, Henri Pichette...
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema
https://soulvlog.blogspot.com/2023/03/the-true-story-of-artaud-le-momo-1993.html
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"The True Story of Artaud le Mômo", by Gérard Mordillat and Jérôme Prieur, produced in 1993. With English subtitles.
Attendees: Luciane Abiet, Jacqueline Adamov, André Berne-Joffroy, Annie Besnard-Faure, Gustav Bolin, Denise Colomb , Pierre Courtens, Alain Gheerbrant, Alfred Kern, Gervais Marchal, Domnine Milliex, Minouche Pastier, Henri Pichette, Marcel Piffret, Rolande Prevel, Marthe Robert, Jany Seiden de Ruy, Paule Thévenin and Henri Thomas.
Note: Poet, man of the theatre, actor, Antonin Artaud (1896-1948) is the author of an immense body of work among which is The Theater and its Double, The Voyage to the land of the Tarahumaras, Van Gogh the suicide of society, Artaud the Mômo... On May 26, 1946, after nine years of internment in various asylums and finally at the Rodez hospice, Antonin Artaud returned to Paris, welcomed at the Gare d' Austerlitz by his friends Henri and Colette Thomas, Jean Dubuffet and Marthe Robert... Arthur Adamov and Marthe Robert having guaranteed his material life, he will now live at the Maison de Santé in Ivry, under the authority of Dr. Delmas who will provide him with a pavilion and will leave him completely free of his time and his movements. We want to revisit the friends of Antonin Artaud, his loves, his companions the path he took, to find in their memory the places he frequented, to redo his journey between the clinic of Ivry and Saint-Germain-des- Prés, in the Paris of the immediate post-war period. That is to say that we want to find the voice of Artaud, his face, his presence, in the voice, the face, the presence of those who accompanied him, and whose life he changed: Paule Thévenin, Henri Thomas, Marthe Robert, Anie Besnard, Jany de Ruy, Rolande Prevel, Henri Pichette...
#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema
https://soulvlog.blogspot.com/2023/03/the-true-story-of-artaud-le-momo-1993.html
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The Birthday of Antonin Artaud
September 4, 2014#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy
https://allenginsberg.org/2014/09/the-birthday-of-antonin-artaud/
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The Birthday of Antonin Artaud
September 4, 2014#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy
https://allenginsberg.org/2014/09/the-birthday-of-antonin-artaud/
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The Birthday of Antonin Artaud
September 4, 2014#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy
https://allenginsberg.org/2014/09/the-birthday-of-antonin-artaud/
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The Birthday of Antonin Artaud
September 4, 2014#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy
https://allenginsberg.org/2014/09/the-birthday-of-antonin-artaud/
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The Birthday of Antonin Artaud
September 4, 2014#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy
https://allenginsberg.org/2014/09/the-birthday-of-antonin-artaud/
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https://actualitte.com/article/116988/avant-parutions/antonin-artaud-toujours-plus-choquant-toujours-plus-mythique
Pour en finir avec le jugement de Dieu est l'œuvre-testament d'un #Artaud marqué par la drogue et les internements (mort le 4 mars 1948). Elle mêle transgressions triviales, imprécations fiévreuses et fulgurances visionnaires. Avec le texte est, un dossier avec des articles de presse d'époque. Certains sont pudibonds ou prudents, d'autres enthousiastes, mais tous sont ébahis et atteints par la violence novatrice de ce texte ardent et prophétique. -
https://actualitte.com/article/116988/avant-parutions/antonin-artaud-toujours-plus-choquant-toujours-plus-mythique
Pour en finir avec le jugement de Dieu est l'œuvre-testament d'un #Artaud marqué par la drogue et les internements (mort le 4 mars 1948). Elle mêle transgressions triviales, imprécations fiévreuses et fulgurances visionnaires. Avec le texte est, un dossier avec des articles de presse d'époque. Certains sont pudibonds ou prudents, d'autres enthousiastes, mais tous sont ébahis et atteints par la violence novatrice de ce texte ardent et prophétique. -
https://actualitte.com/article/116988/avant-parutions/antonin-artaud-toujours-plus-choquant-toujours-plus-mythique
Pour en finir avec le jugement de Dieu est l'œuvre-testament d'un #Artaud marqué par la drogue et les internements (mort le 4 mars 1948). Elle mêle transgressions triviales, imprécations fiévreuses et fulgurances visionnaires. Avec le texte est, un dossier avec des articles de presse d'époque. Certains sont pudibonds ou prudents, d'autres enthousiastes, mais tous sont ébahis et atteints par la violence novatrice de ce texte ardent et prophétique. -
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Mientras #HijaDeQuince me muestra algo en su celu, veo que tiene de fondo de pantalla la tapa de Artaud.
—¿Te gusta Artaud?
—Discazo, pá.Listo, gente. He cumplido mi cometido. Hasta acá llegué. Sigan ustedes.
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Mientras #HijaDeQuince me muestra algo en su celu, veo que tiene de fondo de pantalla la tapa de Artaud.
—¿Te gusta Artaud?
—Discazo, pá.Listo, gente. He cumplido mi cometido. Hasta acá llegué. Sigan ustedes.
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Mientras #HijaDeQuince me muestra algo en su celu, veo que tiene de fondo de pantalla la tapa de Artaud.
—¿Te gusta Artaud?
—Discazo, pá.Listo, gente. He cumplido mi cometido. Hasta acá llegué. Sigan ustedes.
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Mientras #HijaDeQuince me muestra algo en su celu, veo que tiene de fondo de pantalla la tapa de Artaud.
—¿Te gusta Artaud?
—Discazo, pá.Listo, gente. He cumplido mi cometido. Hasta acá llegué. Sigan ustedes.
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Mientras #HijaDeQuince me muestra algo en su celu, veo que tiene de fondo de pantalla la tapa de Artaud.
—¿Te gusta Artaud?
—Discazo, pá.Listo, gente. He cumplido mi cometido. Hasta acá llegué. Sigan ustedes.
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Y ahora, surfeando la ola de la serie de #fito (?) aparece otro con un tema de disco tremendo e imperdible #artaud (aunque medio abajo si estás chocando baldosas)
Cementerio Club, de Pescado Rabioso https://www.shazam.com/track/40356875/cementerio-club
#elflaco -
Y ahora, surfeando la ola de la serie de #fito (?) aparece otro con un tema de disco tremendo e imperdible #artaud (aunque medio abajo si estás chocando baldosas)
Cementerio Club, de Pescado Rabioso https://www.shazam.com/track/40356875/cementerio-club
#elflaco -
“If our life lacks a constant magic it is because we choose to observe our acts and lose ourselves in consideration of their imagined form and meaning, instead of being impelled by their force.”
― Antonin Artaud, The Theater and Its Double
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“If our life lacks a constant magic it is because we choose to observe our acts and lose ourselves in consideration of their imagined form and meaning, instead of being impelled by their force.”
― Antonin Artaud, The Theater and Its Double
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“If our life lacks a constant magic it is because we choose to observe our acts and lose ourselves in consideration of their imagined form and meaning, instead of being impelled by their force.”
― Antonin Artaud, The Theater and Its Double
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“If our life lacks a constant magic it is because we choose to observe our acts and lose ourselves in consideration of their imagined form and meaning, instead of being impelled by their force.”
― Antonin Artaud, The Theater and Its Double
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Due parole su Eliogabalo, su Artaud e su una concezione più moderna di anarchia…
...ogni anarchico non sprovveduto si pone di fronte al paradosso che Artaud propone nel suo saggio su Eliogabalo, in cui considera gli anarchici come persone ch
#Recensionilibri #anarchia #Artaud #Borges #Eliogabalo #Kant #Libertàindividuale #Minimodigoverno #Nozick #Popper #saggio #Statominimo
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Due parole su Eliogabalo, su Artaud e su una concezione più moderna di anarchia…
...ogni anarchico non sprovveduto si pone di fronte al paradosso che Artaud propone nel suo saggio su Eliogabalo, in cui considera gli anarchici come persone ch
#Recensionilibri #anarchia #Artaud #Borges #Eliogabalo #Kant #Libertàindividuale #Minimodigoverno #Nozick #Popper #saggio #Statominimo
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Due parole su Eliogabalo, su Artaud e su una concezione più moderna di anarchia…
...ogni anarchico non sprovveduto si pone di fronte al paradosso che Artaud propone nel suo saggio su Eliogabalo, in cui considera gli anarchici come persone ch
#Recensionilibri #anarchia #Artaud #Borges #Eliogabalo #Kant #Libertàindividuale #Minimodigoverno #Nozick #Popper #saggio #Statominimo
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Due parole su Eliogabalo, su Artaud e su una concezione più moderna di anarchia…
...ogni anarchico non sprovveduto si pone di fronte al paradosso che Artaud propone nel suo saggio su Eliogabalo, in cui considera gli anarchici come persone ch
#Recensionilibri #anarchia #Artaud #Borges #Eliogabalo #Kant #Libertàindividuale #Minimodigoverno #Nozick #Popper #saggio #Statominimo
