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By Artaud, Antonin; Jannarone, Kimberly; Artaud, Antonin

Artaud and His Doubles is a thorough re-thinking of 1 of the main influential theater figures of the 20 th century. putting Artaud's writing in the particular context of eu political, theatrical, and highbrow historical past, the e-book finds Artaud's affinities with a demanding array of anti-intellectual and reactionary writers and artists whose ranks swelled catastrophically among the wars in Western Europe.

Kimberly Jannarone indicates that Artaud's paintings finds units of doubles: one, a physique of specially continual obtained interpretations from the yankee experimental theater and French post-structuralist readings of the Sixties; and, , a darker set of doubles—those of Artaud's contemporaries who, within the tumultuous, alienated, and pessimistic surroundings enveloping a lot of Europe after global struggle I, denounced the degradation of civilization, yearned for cosmic purification, and known as for an ecstatic lack of the self. Artaud and His Doubles will generate provocative new discussions approximately Artaud and essentially problem the best way we glance at his paintings and ideas.

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Example text

The language of political power in the interwar era expressed itself in terms of suffering and overcoming, mysticism and higher laws, catastrophe and revelation, fear and menace, myth and destiny. Emotion, not reason, ruled the discourse of Italian Fascists and German National Socialists. Their commanding rhetoric focused on style and emphasis more than argument or dialectical exchange, and it presumed that the needs of the flesh, Introduction : 25 psyche, and soul were identical. This language bears unsettling similarity to the most radical voice of theater directing as it found its articulation with Artaud.

Is the fact that Nietzsche’s work lends itself easily to . . misinterpretations. This fact should not be denied. There is no sense in pretending that the horror passages which are quoted with equal delight by the critics and the National Socialist admirers are not to be found in the work. Their existence should not be an incentive either to whitewash or to condemn Nietzsche, but rather to explore the structure of thought which produced them. (317n) It is the task of Artaud and His Doubles to explore undiscussed parallel “structure[s] of thought” to Artaud’s most famous work.

Thus to speak of Artaud’s theatrical work and ideas is necessarily to speak of theater of the interwar era, which is what Artaud and His Doubles does. I reference other works Artaud wrote during this period, such as novels and poetry, insofar as they shed light on his vision for a theater, and I dedicate one section to analyzing his directing work. I do not venture into the period when he was incarcerated, nor do I debate questions of his sanity; I focus instead on his theatrical works, their immediate contexts, and their implications.

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