By John C. Stout
so much 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 learn installs Artaud as a author and theorist of biography.
In Alternate Genealogies Stout analyzes separate yet interrelated preoccupations primary to Artaud’s paintings: the self-portrait and the family members romance. He indicates how Artaud, in numerous very important yet particularly missed 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 to reinvent himself throughout the picture, or lifestyles, of one other. during the e-book Stout focusses on Artaud’s struggles to recuperate the experience of self that eludes him and to grasp the reproductive strategy by way of recreating the relations in — and as — his personal fantasies of it. With this learn John C. Stout has further significantly to our knowing of Artaud.
His ebook might be a lot favored through theatre students, Artaud experts, Freudians, Lacanians and either theorists and practitioners of lifestyles writing.
Read Online 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
Does the title indicate a choice to be made? Does it manifest an undecidability illustrated by the text? The question of whether the reader will take "Paul les Oiseaux" or "the place of love" as the real subject of the piece may or may not be resolved by the act of reading the title invites. Are the terms of the title, "Paul les Oiseaux" and "the place of love," related by similarity or by difference? Their juxtaposition presents problems in interpretation just as perplexing as the juxtaposition of the rival art forms, painting and theatre.
Here Artaud is no doubt thinking of the Freudian notion that being turned to stone signifies castration. The sea voyage, metaphor for erotic adventure, is juxtaposed with images of erosion ("au-dessous de tout est Perosion de Pesprit"). Eros is countered by erosion. The succeeding paragraph focuses on clusters of baroque and funereal images. "L'esprit d'Abelard" is figured as death's heads. These death's heads act as a vanitas figure chastizing Abelard for his infamous sexual transgression. ). Although the passage is obscure, it seems to evoke the vagina dentata since Artaud calls the teeth of the passage "vierge" or "bardee de faim"; a reader familiar with "Paul les Oiseaux" will remember the associations in that text between "la femme" and "la faim"—erotic hunger.
As though the return of the signs of mortality signified a recognition of the price demanded for sexuality that defies the law to which Abelard as a cleric must submit, a defiant tirade against God ensues. " This insulting of God — or, in Lacanian parlance, "L'Autre," who structures the subject's desire by Laws he cannot know or control — implies a powerless refusal of God's control of desire and language, of His control of the subject's access to any sexual economy. The discovery that this entire economy is predicated upon the impossibility of maintaining plenitude, upon an inescapable "manque," now emerges as the denouement of the story of Heloi'se and Abelard.