By John C. Stout
such a lot readers understand Antonin Artaud as a theorist of the theatre and as a playwright, director and actor manqué. Now, John C. Stout’s hugely unique research installs Artaud as a author and theorist of biography.
In Alternate Genealogies Stout analyzes separate yet interrelated preoccupations principal to Artaud’s paintings: the self-portrait and the relations romance. He indicates how Artaud, in different very important yet quite overlooked texts, rewrites the existence tales of old and literary figures with whom he identifies (for instance, Paolo Ucello, Abelard, Van Gogh and Shelley’s Francesco Cenci) in an try and reinvent himself throughout the photograph, or existence, of one other. during the publication Stout focusses on Artaud’s struggles to get better the feel of self that eludes him and to grasp the reproductive method by way of recreating the relatives in — and as — his personal fantasies of it. With this learn John C. Stout has additional significantly to our realizing of Artaud.
His e-book could be a lot favored through theatre students, Artaud experts, Freudians, Lacanians and either theorists and practitioners of existence writing.
Read or Download Antonin Artaud’s Alternate Genealogies: Self-Portraits and Family Romances PDF
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Additional resources for Antonin Artaud’s Alternate Genealogies: Self-Portraits and Family Romances
The same preoccupation with "dark" sexuality which artist and subject identified as significant in that portrait resurface in the Abelard and Uccello texts (and later in Artaud's Van Gogh essay-poem and in his sketches and portraits at Rodez). Although the clash of these opposed terms divides the focus of the texts or leads to obscurity or to a language out of control, their presence seems a necessary precondition to Artaud's biographical self-fashioning. L'Art et la mort, the evocative title of his 1929 collection of prose poems, suggests the inseparability of eros and thanatos, of creation and annihilation that so possessed Artaud's imagination.
The birth of the child in the poem is identified with the production of feces ("suie du cul de la grand-maman") as in a characteristic Freudian infantile phantasy of anal birth. "Ci-git," like Heliogabale or Les Cenci, attacks the concept of the family by exposing the phantasies the concept represses, magnifying them to monstrous proportions and integrating them into an implosive plot in which the family consumes itself. This auto-cannibalistic phantasy expresses the simultaneous destruction of the family and its preservation in altered form.
The "OUT in capital letters that now halts this linguistic outburst allows the text to move to the presentation of new actors, Uccello's friends and fellow artists Brunelleschi and Donatello. The reader quickly realizes that these new characters are merely reflectors of Uccello/ Artaud's own dilemma. "Pendant ce temps Brunelleschi et Donatello se dechirent comme des damnes. ). In paragraphs to follow, the two artists will continue to be defined in relation to Uccello: Brunelleschi as his rival and Donatello as his double.