Get Cruelty and Desire in the Modern Theater: Antonin Artaud, PDF

Get Cruelty and Desire in the Modern Theater: Antonin Artaud, PDF

By Laurens De Vos

Departing from a clean examine the information of Antonin Artaud, this booklet presents an intensive research of the way either Sarah Kane and Samuel Beckett are indebted to his legacy. In juxtaposing those playwrights, De Vos minutely issues out how either of their personal manner fight with coming to phrases with Artaud. A key suggestion in Lacanian psychoanalytic theories, wish lies on the root of the Theatre of Cruelty; Kane and Beckett turn out that wish and cruelty are inextricably associated with each other, yet that they seem in extensively diversified disguises. counting on Kane and Beckett, this publication not just sheds a mild at the distinct intentions in the back of Artaud's undertaking, it additionally maps out the structural parallels and dichotomies among the Theatre of Cruelty and the literary style of tragedy. instantly after the most well known of Sarah Kane's Blasted in 1995, a few reviewers made a hyperlink with Antonin Artaud's Theatre of Cruelty. those parallels, although, have been completely in accordance with the abundance of actual violence on level. in keeping with those assertions, this e-book strains minutely Artaud's legacy for later generations. utilizing Jacques Lacan's psychoanalytical principles as a theoretical framework, De Vos defines Artaud's venture no longer a lot by way of blood and goriness, yet quite as a theater of ardour, revolving round notions as wish, love and the subjectile, an idea that used to be drawn recognition to through Derrida. moreover, the belief of the scapegoat delineated through Rene Girard offers a leg-up to explain the intrinsic parallels in addition to divergences among the Theatre of Cruelty and tragedy, whereas additionally Lacan's research of Antigone is being checked out. Phaedra's Love, Cleansed and 4.48 Psychosis are generally handled during this examine, and indicate the advance Kane went via in her brief yet whilst lengthy trajectory. The 3rd half on Beckett focuses totally on Krapp's final Tape and never I, and both so calls in Lacan to appreciate self-alienation and self-conceptualization in its relation to Artaud's Theatre of Cruelty. This publication may be of use to somebody drawn to modern theater or within the box of psychoanalysis made appropriate within the arts.

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Extra resources for Cruelty and Desire in the Modern Theater: Antonin Artaud, Sarah Kane, and Samuel Beckett

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Although the prestige of music was bound up with the grand nineteenth-century vision of artistic reunification known by its Wagnerian appellation Gesamtkunstwerk (“total artwork”), the impact of melomania prompted a more acute individuation of each of the arts in the twentieth century, a legacy pondered by Theodor Adorno, whose wary assessment of the pathos of artistic individuation I’ll take up after reviewing several episodes of melomania in rash pursuit of synesthetic revelation. Episodes in the History of a Shiver One of the more lively misadventures of synesthetic experiment in the arts occurred on December 11, 1891, at the Théâtre Moderne in Paris.

In doing so, they confronted a nagging question: how could one estimate where meaning fell away and only pretension, hope, or desperation remained? Synesthetic rapture slips into Howards End, E. M. Forster’s novel about the music-loving Schlegel sisters, whose name points right back to those romantic proponents of the blended artwork that stirs up the soul sediment here. Margaret lampoons her sister Helen’s view of a river as a musical experience: “The course of the Oder is to be like music. It’s obliged to remind her of a symphonic poem.

17 An example of such reconciliation is the realist novel, in which the formal requirements of the “filler” impinge upon the thematic material, which is then obliged to reconcile the sprawl of particulars in a subsuming and potentially unrealistic vision of totality. The conciliation of universal and particular, in Adorno’s view, is the stress fracture in art of a social malady—art forced to stand in for an otherwise unavailable redemption. ”18 The abject expressivity of Dada sound poems was one of the ways in which modernism recovered the urgency of the stag, but its nontransferable specificity withheld from it any chastening influence.

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