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Antonin Artaud (1896–1948)

Författare till The Theater and Its Double

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An early associate of the surrealists, Antonin Artaud broke with them to form the "theater of cruelty" in 1932. His goal, set forth in his long essay The Theater and Its Double (1938), was to replace the contemporary theater, with its emphasis on psychology, by a theater of myth that would visa mer reintroduce the sacred into modern life. Experiments with drugs, coupled with a long history of psychiatric trouble, led to Artaud's commitment to a mental hospital for nine years. He remains a contemporary heir to the nineteenth-century antiestablishment poets and an inspiration to contemporary theoreticians of the theater. (Bowker Author Biography) visa färre
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Verk av Antonin Artaud

The Theater and Its Double (1936) 1,250 exemplar
Artaud Anthology (1963) 371 exemplar
Watchfiends & Rack Screams (1974) 141 exemplar
The Peyote Dance (1945) 136 exemplar
L'Ombilic des Limbes (1968) 100 exemplar
The Cenci: A Play. (1935) 57 exemplar
Œuvres (1956) 46 exemplar
50 Drawings to Murder Magic (2004) 27 exemplar
Messages révolutionnaires (1979) 26 exemplar
El pesanervios (1976) 25 exemplar
Artaud on Theatre (1991) 25 exemplar
El cine (1994) 24 exemplar
Antonin Artaud: Four Texts (1982) 19 exemplar
Poesie della crudelta' (2002) 10 exemplar
Navel der onderwereld (1981) 7 exemplar
Suppôts et Supplications (2006) 7 exemplar
Oeuvres complètes, tome 13 (1974) 7 exemplar
Briefe aus Rodez (1979) 7 exemplar
Nouveaux écrits de Rodez (1977) 7 exemplar
Briefe an Genica Athanasiou (1990) 6 exemplar
Artaud (1977) 6 exemplar
Lettere ai pre-potenti (2000) 6 exemplar
Artaud the Mômo (2020) 6 exemplar
Frühe Schriften (2001) 5 exemplar
Oeuvres complètes, tome 3 (1978) 5 exemplar
La libertad del espíritu (1999) 4 exemplar
Balthus (Spanish Edition) (2020) 4 exemplar
Tutuguri 4 exemplar
Textos (2000) 4 exemplar
Versions d'Antoni Artaud (1977) 3 exemplar
Le moine (de Lewis) (1998) 3 exemplar
Succubi e supplizi (2004) 3 exemplar
Oeuvres complètes, tome 7 (1983) 3 exemplar
Esseid ja kirju 3 exemplar
Dessins et portraits (2019) 3 exemplar
Oeuvres complètes, tome 8 (1980) 3 exemplar
Œuvres Complètes, vol. 05 (1979) 3 exemplar
Oeuvres complètes 3 exemplar
Tiyatro Ve Ikiz (2015) 3 exemplar
Cahier (French Edition) (2006) 3 exemplar
Dans om de anatomie (1989) 3 exemplar
The Spurt of Blood (1984) 2 exemplar
Cartas a Jean-Louis Barrault (1952) 2 exemplar
Los tarahumaras (2014) 2 exemplar
Il mito Van Gogh (1987) 2 exemplar
Er is geen hemelgewelf meer (2019) 2 exemplar
Scritti di Rodez (2017) 2 exemplar
Oeuvres complètes, tome 10 (1996) 2 exemplar
Oeuvres complètes, tome 2 (1980) 2 exemplar
Textos 1923-1946 2 exemplar
Tres piezas cortas 2 exemplar
Brieven 2 exemplar
Antonin Artaud i udvalg (1973) 2 exemplar
Here Then The Question (1968) 2 exemplar
YAŞAYAN MUMYA (1995) 1 exemplar
Brieven uit Rodez 1 exemplar
Poeta nero e altre poesie (2000) 1 exemplar
Mexico (1991) 1 exemplar
Sul suicidio e altre prose (2002) 1 exemplar
Linguagem e vida 1 exemplar
La Tour Invisible 1 exemplar
Death of Satan 1 exemplar
Oeuvres Completes, Tome IV (1964) 1 exemplar
Escritos 1 exemplar
Oeuvres Completes XIV (1978) 1 exemplar
Lettres: (1937-1943) (2015) 1 exemplar
TDR #22: Artaud 1 exemplar
Oeuvres compls 1 exemplar
Cahiers d'Ivry coffret (2011) 1 exemplar
promesse 1 exemplar
CsO: il corpo senz'organi (2003) 1 exemplar
Artaud le Mômo 1 exemplar
Cahiers de Rodez 1 exemplar
Radio Works: 1946-48 (2022) 1 exemplar
Kazalište i njegov dvojnik (2000) 1 exemplar
Pisma iz ludnice 1 exemplar
La Tour de feu 1 exemplar
L'Arte e la Morte (2003) 1 exemplar

Associerade verk

The Passion of Joan of Arc [1928 film] (1928) — Actor — 129 exemplar
Modern French Theatre (1964) — Bidragsgivare — 67 exemplar
Surrealist Painters and Poets: An Anthology (2001) — Bidragsgivare — 67 exemplar
The Shadow and its Shadow (1978) — Bidragsgivare — 63 exemplar
The Dedalus Book of Surrealism, II: The Myth of the World (1994) — Bidragsgivare — 38 exemplar
Big Table 2 (1959) — Bidragsgivare — 10 exemplar
The Seashell and the Clergyman — Original scenario — 4 exemplar
Van Flaubert tot heden : Franse verhalen — Bidragsgivare — 3 exemplar
Sulfur 9 — Bidragsgivare — 1 exemplar
Il cinema d'avanguardia 1910 - 1930 (1983) — Författare — 1 exemplar


Allmänna fakta

Vedertaget namn
Artaud, Antonin
Namn enligt folkbokföringen
Artaud, Antoine Marie Joseph Paul
Cimetiere de Marseille, Marseille, Bouches-du-Rhône, Provence-Alpes-Côte d'Azur, France
Marseille, France
Ivry-sur-Seine, France
colorectal cancer
drug overdose
Marseille, Bouches-du-Rhône, Provence-Alpes-Côte d'Azur, France
Paris, Île-de-France, France
Rodez, France
Collège du Sacré-Cœur, Paris
playwright (visa alla 7)
French Army
Théâtre de l'Atelier
Théâtre Alfred Jarry
Kort biografi
Antonin Artaud was born in Marseille, France, to a family of Levantine Greek origins. He became a playwright, poet, essayist, actor, and theatre director, despite many hospitalizations for mental illness, and is considered one of the major figures of 20th-century avant-garde theatre and literature. His work influenced the Theater of the Absurd, particularly the works of Jean Genet, Eugène Ionesco, and Samuel Beckett. Allen Ginsberg claimed that Artaud's radio play "Pour en finir avec le jugement de Dieu" (To Have Done with the Judgment of God) had a tremendous influence on his most famous poem, "Howl."



This book was pretty kooky, but I expected no less from the author! I liked his premise that Heliogabalus was an anarchist who was (maybe?) trying to exploit his limitless power as emperor to subvert and undermine traditional Roman religion and society. Was his endgame mere anarchy, or a complete destruction of the Empire and a consequent expansion of his own religion? How mature was the vision of someone whom we would call a teenager?

I read The Mad Emperor: Heliogabalus and the Decadence of Rome by Harry Sidebottom before reading this book, and I appreciated how the two works complemented each other.… (mer)
librarianarpita | 3 andra recensioner | Nov 11, 2023 |
“Heliogábalo o el Anarquista coronado” apareció en las “Editions Denöel et Steele” el 28 de abril de 1934 llevando como ilustraciones seis viñetas de André Derain. Aun siendo “Heliogábalo” sobre todo la obra de un poeta, es también una obra de erudición. Antonin Artaud realizó largas y pacientes indagaciones y leyó gran número de escritos tanto antiguos como modernos. Mezclados con una parte del manuscrito de “Heliogábalo” que Mme. Anie Faure facilitó a los representantes de “Editions Gallimard” (editores de las obras completas de Artaud) había una lista de las fuentes consultadas que abarca entre los antiguos a Artemidoro de Efeso (Interpretación de los sueños), Heliodoro, Censorinus, Eusebio, Amiano Marcelino, Eutropo, Macrobio, Zosimo, Constantino Porfirogenta, Xifilino, etc. Las fuentes modernas son, entre otras consultadas: Auguste Bouché-Leclerc (Histoire de la divination dans l´Antiquité), Pierre-Jean Baptiste Chaussard, dit Publicola (Héliogabale, ou Esquisse morale de la dissolution romaine sous les empereurs), Georges Contenau (La Civilisation phénicienne), Franz Cumont (Les Cultes d´Asie Mineure dans le Paganisme romain), Georges Duviquet (Héliogabale raconté par les historiens grecs et latins), René Dussaud (Notes de mythologie syrienne, y otros), Butler Horma Ficht (Studies in the life of Elagabalus), Charles Fossey (La Magie assyrienne), Sébastien Lénain de Tillemont (Histoire des empereurs), Jean Réville (La Religión a Rome sous les Sévères).Y las historias clásicas de Victor Duruy, Edward Gibbon y Théodor Mommsen.… (mer)
Natt90 | 3 andra recensioner | Jul 22, 2022 |
I remember once I thought that I was Hitler, and that I didn’t exist. It was like I was expecting some little gnome to come up to me and say, Hitler, you don’t exist. So, begone—you can never escape! And then I would scream and the scream would never end and the scream would be the end and I would get arrested and that would pretty much be it, you know.

Mental illness can be enduring—cure your mind with perhaps 3,428 uncertain steps!—but recovery is possible, and talking about it is a lot funnier after your mind has stopped being so ugly, right. I don’t think old Antonin ever got there. “Blah blah blah I’m crazy blah blah Blah I’m crazy blah blah I AM VERY IMPORTANT.” [Or, you know. I AM A LEPRECHAUN. SO LET’S HAVE SEX.] Which is also what my schizophrenic writings sounded like. And that’s only funny because, you know, I edited it that way….

I did come across old Antonin in the littlest encyclopedia, the dictionary, but I don’t think that the activity of his mind is explained by the fact that he liked to parle en Paris, you know—his nationality. His correspondence partner was very classical and reserved, and he was just as French….

The Ant had an ugly mind. What are you gonna do.

…. It’s one thing to try to remove the stigma of mental illness—although I suppose I’ll have to punish myself now, or eat something, to clear the stain-y taste of bureaucracy out of my mouth—but it’s another thing to be pro-insanity, pro-schizophrenia. —Suicide is the future! It’s bold! It’s French! It’s good!

Who wants to read Coventry Patmore, lol, or some fucking rhyming poet with some bloody village mind. Right?

We’ll be safe. :)

…. The Ant: Read the Bible? Or commit suicide? I choose suicide!
Religious Jew: A-ha. Goy.
The Ant: I choose suicide!
—No comment.

…. —I am not an atheist, but I believe in only those Gods of whom I know nothing; I hope, in fact, that nothing Can be known of them.

On the floor of the temple of the chastity god, I have sex with his nuns, said the (Giant) Ant.

…. I’m the only one who can save you from the darkness, said the Giant Ant.
—Whoever walks with me will not—
—No, Jesus, I want to save you.
—You want to cleanse my appearance before men. That they may know I am not a tyrant.
—Oh, are you not a tyrant? Well, I AM a tyrant, and I shall—
—Oh, sorry master. I thought the ant was bothering you.

…. “I didn’t begin well, and thereafter passed through a bad middle to a bad end.”

—Welcome to the Palace of Nowhere, the heart of pre-civilization. It’s just like the Natives of Quebec. The Eskimos, you know, said The Ant.
—Angry Liberal: That right?
—What are you thinking?
—Angry Liberal: You tell me what I’m thinking.
—Surely it can’t be that I’m wrong to exoticize these people. After all, I’m French!
—Angry Liberal: It doesn’t matter.
—To the angry man, everything is offensive.
—Angry Liberal: And everything is freaky, seen through the eyes of a Giant Ant.

…. Words without thought, without aim.

Example 1: Mommy I love the leprechauns. Blah blah blah the leprechauns etc.

Example 2: (The Giant Ant) I am the Master of the Sacred Rites, need EYE, explain MYSELF, to YOU? Blah blah blah I’m a nut.

…. Incidentally, although I will allow that only SOME television is from the devil, I think a middling bad TV show can be a lot worse than the Ant’s extravagantly bad book. (Incidentally, what Genre is this supposed to be? Poetry?) In some random shitty TV show, they’ll have some random graphic violence happen—the trifecta, violence, belief in the randomness of life, and idiotic show-y-ness—even though they could have distanced the viewer from some of it so you could understand instead of gawk, introduce the killer as an actual character instead of just cheap furniture, everything that separates real horror stuff from pornography without sex, you know—spirituality, as often as not. So TV is Often from the devil. But The Ant in this book isn’t really frightening. He just rants and raves Downfall style, but it’s boring. —He’s upset again! Quelle surprise! But there’s nothing hell-like to gawk at. I guess that’s the ultimate put-down to the ultimate Ant, that’s it’s just, Blah blah blah—I’m a nut.

…. (at the end of his HBO comedy special) ‘To cure a sickness is a crime’—in other words, I’m a nut! Good night, Paris! I love you!!!…. Testicles, everybody—don’t forget to have testicles!

…. The Giant Ant
Branch of Philosophy: French
Influenced by: The Voices
Notable ideas: Testicle remembrance
Influenced: American television

…. (the last paragraph and the paragraph after that)

Confederate Baptist Preacher: And then the Giant Ant said, “do evil/and/commit many sins/but do no evil to me”!!!
First Psychiatrist: Is that what happened. *scribble scribble*
Second Psychiatrist: No—there was this guy, and, well. We might have to change his meds.
First Psychiatrist: *considers this* Such a small dose we’ll have to use, if he’s an ant.

…. And, you know, the editor, a Mr Hirschman—a ‘Very Cool’ Jack—is what I would prefer to call a Leninist-Stalinist, although Marx might prefer to simply call him part of the lumpenproletariat. Lumpenprole! Basically just a disgusting, Trashy little white boy who’s big time French; like a left-wing Trump—no mean feat.

—I am the Leprechaun of Truth. Welcome to my office. *opens door*
—*haranguing the Devil* This shit is very poor quality, Very Poor Quality, I should rip you another asshole to see if I can get better quality shit out of the new one! I refuse to eat any shit except that of the very finest quality! MY NAME IS ANTONIN ARTAUD!!! A MEINER PERSON! A MEINER PERSON!!!!
—*closes door* That’s not my office.

…. Afterword: (walking down the hall towards my office) Of course, he was a big deal among mentally ill & unrecovered & anti-recovery poets, and therefore he wasn’t like anybody else—when his head exploded, the blood splattered in a very unique way, like in a ink blot test, right—so I’m mildly amused/pleased that I read this. Of course, he could probably really fuck up your life if you thought this was Good Poetry…. But it’s nice to meet different kinds of people, and— (muffled shout) (my name is antonin artaud)— (speeds up) Okay, walk a little faster….
… (mer)
goosecap | 3 andra recensioner | Jun 29, 2022 |
> Babelio :

> 50 DESSINS POUR ASSASSINER, la magie / Antonin Artaud. — 50 dessins pour assassiner la magie est un livre rare, différent de tout ce qui peut paraître dans les domaines de la poésie et des arts. Antonin Artaud devait le publier en 1948, sur invitation de Pierre Loeb. Il en est question dans des lettres d’A. Artaud à Jean Paulhan, écrites à la fin de sa vie. Gallimard, à l’initiative d’Evelyne Grossman, donne enfin forme à ce projet, plus de trente-cinq ans après sa conception, dans la « collection blanche », mais dans un format inhabituel (22 x 28), et sur un beau papier à grain. La préface d’É. Grossman est claire, précise, elle montre la relation chez le poète des termes « dessiner » et « assassiner », ou « image » et « magie ». Elle souligne que la « mise en scène des signes (dessin, écriture) » devient chez A. Artaud une véritable « mise en espace » à travers les pages des cahiers d’écolier utilisés. Reste ensuite à se plonger dans l’univers du poète-peintre. Un texte, en forme de poème, intitulé justement « 50 dessins pour assassiner la magie », ouvre l’ensemble. Les pages manuscrites sont mises en vis-à-yis de leur transcription parfois corrigée. La première phrase d’A. Artaud déclare qu’« il ne s’agit pas ici de dessiner », introduisant un doute sur la nature de sa création, mais il précise alors la nature de son projet : « Ce sont 50 dessins/ pris à des cahiers/ de notes/ littéraires,/ poétiques/ psychologiques,/ magiques/ magiques surtout/ magiques d’abord/ et par-dessus tout. » L’écriture de ce long texte imprécatoire annonce déjà formellement les « dessins » en eux-mêmes, les mots sont tracés avec rage, raturés parfois, le papier troué en de multiples endroits. Suivent alors les pages consacrées à ces « dessins pris à des cahiers de notes ». Mots et formes s’entremêlent, s’entre-déchirent, dans une même explosion. Des corps et des visages tentent de sortir de la noirceur du crayonnage noir. D’autres formes moins définissables font penser aux « machines abstraites » et « corps sans organes » théorisés par Gilles Deleuze et Félix Guattari. Quelques mots écrits en bleu, parfois, apparaissent sur le crayon. Si le papier des cahiers reproduits a jauni avec le temps, cette expression sans équivalent entre folie extrême et extrême lucidité traverse les époques et touche profondément le lecteur qui consent à s’impliquer totalement dans la vision de telles pages. L’ouvrage est, il va sans dire, indispensable à tous ceux qui s’intéressent à A. Artaud et aux territoires mentaux qu’il a explorés et permis de découvrir. Éd. établie et préf. par Évelyne Grossman, Paris : Gallimard, 2004. - 39 p.- 54 f. de pl. : 841 Poésie française. - ISBN 2-07-077237-3 : 30 €
Bulletin critique du livre en français, n° 665, décembre 2004 (p. 73)
… (mer)
Joop-le-philosophe | 1 annan recension | Jun 4, 2022 |



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