Antonin Artaud: The Scum of the Soul (Palgrave Studies in Modern European Literature)
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This book serves as analysis of the aesthetics of materiality in the multifaceted work of Antonin Artaud, one of Twentieth-Century France's most provocative and influential figures, spanning literature, performance, art, cinema, media and critical theory.
world and look to the Forms, a view that might coincide with Artaud’s idea that art should put us directly in contact with certain principles that reality only imitates. However, Artaud’s distinction between reality and the Real cannot be understood in the same terms as it is in Plato’s Republic. I want to argue that the ‘Real’, for Artaud, exists in the world, and this is why he places so much emphasis on the materiality of his work. Reality, if it is a pale imitation of the real, rather than
there’s no chance of – but if I did – […] ‘If I did fall,’ he went on, ‘the King has promised me…’.44 In fact, Humpty Dumpty seems to positively desire the rupture of his bodily limits, making him a distinctly appropriate Artaudian character. Artaud is, consequently, far more interested in Humpty Dumpty than in Alice. It is significant that Artaud’s adaptation ends with the shattering of Humpty Dumpty’s body that interrupts Alice midsentence: ‘elle ne termina jamais la phrase. Car à ce moment-là
examination of his most substantial scenario, La Coquille et le clergyman (The Seashell and the Clergyman). It is equally important, then, to consider Dulac’s film and the way in which her ideas and aesthetic vision both diverge from and intertwine with Artaud’s. Artaud’s attitude towards Dulac’s film was overall rather hostile, and for a long time accounts of the film were mired in chauvinism and misogyny, to some extent coming from Artaud himself and the Surrealists who purportedly Artaud on
makes reference to the subjectile, writing: Ce dessin est une tentative grave pour donner la vie et l’existence à ce qui jusqu’à aujourd’hui n’a jamais été reçu dans l’art, le gâchage du subjectile, la maladresse piteuse des formes qui s’effondrent autour d’une idée après avoir combien d’éternités ahané pour la rejoindre. La page est salie et manquée, le papier froissé, les personnages dessinés par la conscience d’un enfant. (This drawing is a grave attempt to give life and existence to what
Denkwürdigkeiten eines Nervenkranken, p. 94. Memoirs, p. 124. See note 15. See note 15. Artaud, OCI, p. 81. SW, p. 79. Artaud, OCI, p. 109. Artaud, OCIV, p. 53. TD, p. 55. Schreber, Denkwürdigkeiten eines Nervenkranken, p. 38. Memoirs, p. 59. Artaud, OCIX, p. 171. SW, p. 450. Notes 169 40. Artaud, OCIX, p. 172. SW, p. 451. I have not re-written the glossolalic verse in the English translation as this is the same as in the French. 41. The letter ‘k’ is pronounced ‘/kæ/’ in French, the word