By Ros Murray
Antonin Artaud is among the so much not easy and provocative figures in twentieth-century France. highly influential on severe theorists from the post-war interval as much as the current day, Artaud's paintings is still mentioned in theatre reviews, serious conception, avant-garde artwork, functionality perform and movie experiences. Taking a comparative and interdisciplinary process, interpreting 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 center of Artaud's artistic undertaking, situating this on the point of the fabric item: the paper on which he wrote, the distance of functionality, the film-strip and the tape recording. This illuminating publication can be of significant value to readers drawn to corporeal insurrection and the ability of gesture, laying off new mild on verified theories of media and function and contemplating the unexplored complexities of Artaud's paintings because it engages with topic.
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Extra info for Antonin Artaud: The Scum of the Soul (Palegrave Studies in Modern European Literature)
It is almost always in verse form, and intended to be chanted aloud, like a spell. ’ If speaking aloud thoughts that do not belong to him causes Schreber’s ‘Entmannung’ (‘unmanning’)38 Artaud’s chanting is perhaps the opposite, a kind of protective anti-language, or an undoing of language. However, Artaud never wholly commits to a refusal of language, and often the glossolalia appears alongside an explanation or a translation of what it means in French. If the glossolalia has universal meaning, this ‘translation’ in French that accompanies it somewhat undermines this notion of universality.
Artaud continually fluctuates between the desire to communicate something direct (thought as a physical force), and the fear of being misunderstood which itself stimulates a vast proliferation of text. There are various different stages to Artaud’s use of language. Firstly, in the 1920s, there are the texts which announce their own impossibility, and attempt to localise a pre-linguistic thinking process, but as described through the text. In the 1930s, Artaud looked to other cultures in order to try to escape what he perceived as the tyranny of European rationality, and find the perfect form of expression that was not dependent on the intellect, but rather engaged with magical, emotional forces.
The emphasis in this description of Plato is on the physical act of writing, presented metaphorically through the multiple ways of scraping. We recognise the words ‘peaussier’ (leather-worker), ‘tanneur’ (tanner), ‘râpeur’ (grater), ‘sarcleur’ (hoer), ‘limeur’ (filer), but Artaud adds his own variations: ‘lipeur’, perhaps referring to the scraping of fat, from the Greek ‘lipos’, as in lipids or liposuction, and ‘laupeur’ presumably a play on the verb ‘laper’ (‘to lap’), a kind of lapping or licking.
Antonin Artaud: The Scum of the Soul (Palegrave Studies in Modern European Literature) by Ros Murray