By Ros Murray
Antonin Artaud is without doubt one of the so much not easy and provocative figures in twentieth-century France. highly influential on serious theorists from the post-war interval as much as the current day, Artaud's paintings remains to be mentioned in theatre reports, serious idea, avant-garde artwork, functionality perform and movie reports. Taking a comparative and interdisciplinary strategy, analyzing his paintings along Daniel Paul Schreber, Georges Bataille, Lewis Carroll, Germaine Dulac and Carl Theodor Dreyer, Antonin Artaud: The Scum of the Soul delves into the guts of Artaud's inventive venture, situating this on the point of the fabric item: the paper on which he wrote, the gap of functionality, the film-strip and the tape recording. This illuminating ebook can be of significant importance to readers attracted to corporeal rebel and the ability of gesture, laying off new mild on demonstrated theories of media and function and contemplating the unexplored complexities of Artaud's paintings because it engages with topic.
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Additional resources for Antonin Artaud: The Scum of the Soul (Palegrave Studies in Modern European Literature)
Of course, the description of mental health conditions in the nineteenth century as ‘nervous illnesses’ is commonplace, but Schreber gives a rather more specific meaning to this term. He is ill, he claims, because God has invaded his nervous system, wreaking havoc in his body and implanting thoughts into his mind, forcing him to think, act and say inappropriate things. ‘Nervensprache’ is the system that God’s rays use to do this, and is the root of his illness. The difference between this kind of nerve-language and Artaud’s, then, is that for Schreber thought cannot pre-exist or indeed escape the linguistic structures through which 18 Antonin Artaud it comes into being, whereas for Artaud (at least in Le Pèse-nerfs) the thinking process arises from sensation, and only needs a language when it comes to be expressed.
3 Both of these readings emphasise the importance of the corporeal processes inherent in writing which for Artaud were central to his entire creative project. This writing requires a kind of representation that eliminates the distance between the living (or the Artaudian acting, in the sense of agissant, body) and the textual body, one which, as we will see, seems to privilege the digestive system as generator of corporeal and linguistic ejections. 36 Through the Digestive System 37 (i) The ‘leatherer of turds’: defecation and poetry In some instances, Artaud seems to suggest that writing is inherently related to defecation.
Here are a few attempts at language which must be similar to the language of that old book. But they can only be read rhythmically, in a tempo which the reader himself must find in order to understand and to think. )40 Artaud presents this example of what might have been contained in the book as lacking all the essential elements: it should be chanted aloud rather than simply being text on the page, it should be blurted out all at once, rather than following the linear progression necessary for reading, and it should contain a mysterious force that brings it alive.
Antonin Artaud: The Scum of the Soul (Palegrave Studies in Modern European Literature) by Ros Murray