Reproduction de : Thèse Doctorat : Droit : Lyon : 1926. / Titre provenant de l'écran-titre. Bibliogr. p. 125-126.

Durant la première moitié du XXᵉ siècle, divers mouvements d’avant-garde occidentaux sont introduits au Japon et s’y développent dans un court intervalle de temps, menant à des unions difficilement concevables dans une perspective européenne. Cette caractéristique est flagrante dans le cas du surréalisme japonais, objet culturel synthétique. Durant les années 1930, les pressions croissantes sur les artistes et intellectuels achèvent de lui donner une coloration singulière. Comme de nombreux peintres japonais, Kitawaki Noboru (1901-1951) s’intéresse au surréalisme, mais il va rapidement s’éloigner du modèle occidental pour entamer une exploration artistique singulière au travers de ses « peintures schématiques », qui visent à construire le modèle d’une réalité qui semble échapper à tout cadre et, partant, à toute tentative de compréhension, et ainsi rendre à l’homme la place qui doit y être la sienne. Les tentatives de Kitawaki qui se nourrissent des domaines les plus divers, sans véritable limitation temporelle, géographique, ni disciplinaire, évoquent le travail des peintres-savants de la Renaissance. Indissociable du contexte, sa production ne saurait être perçue de manière uniquement conjoncturelle. L’analyse de plusieurs de ses écrits et de ses œuvres, ainsi que des schémas aussi bien théoriques que pratiques qu’il développe (notamment la question du vide pictural) renseignent sur le but poursuivi par le peintre qui, à rebours des standards, s’intéresse tout autant au fond qu’aux motifs de ses toiles, et plus encore qu’aux éléments eux-mêmes à la manière de les combiner. / During the first half of the 20th century, several European avant-garde movements were introduced in Japan, where they grew within a short period of time, sometimes intermingling, which was quite inconceivable from an Occidental perspective. This characteristic was obvious in the case of Japanese surrealism, a synthetic cultural object. During the 1930s, the increasing pressure on artists and intellectuals gave it an even more singular dimension. Like many Japanese painters, Kitawaki Noboru (1901-1951) was interested in surrealism, but he quickly moved away from the Western model to begin a singular artistic exploration through his "Schematic Paintings", with which he aimed to construct a model of reality that appeared less and less ordered in a time of trouble and which consequently could no longer be understood. In this way he aimed to give back to man the place that should be his. Kitawaki’s attempts to draw inspiration from the most diverse fields, without any real temporal, geographical or disciplinary limitations, evoke the work of Renaissance polymath artists. His production, while inseparable from the context, cannot be perceived only in relation to historical events. The in-depth analysis of several of his writings and works, as well as the theoretical and practical schemas he developed (notably the question of the pictorial void) provide information on the painter's aim, which—in contrast to standards—was as much concerned with the background as it was with the motifs of his canvases, and which was more concerned with the manner in which elements were combined than with the elements themselves.

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The aim of this thesis is to explore an heuristic analogy as proposed in its very title: how does a concept of the “uncanny in mimesis” and of the “theatre of death” give content to each other – historically and theoretically – as distinct from the one providing either a description of, or even a metaphor for, the other? Thus, while the title for this concept of theatre derives from an eponymous manifesto of Tadeusz Kantor’s, the thesis does not aim to explain what the concept might mean in this historically specific instance only. Rather, it aims to develop a comparative analysis, through the question of mimesis, allowing for different theatre artists to be related within what will be proposed as a “minor” tradition of modernist art theatre (that “of death”). This comparative enquiry – into theatre practices conceived of in terms of the relation between abstraction and empathy, in which the “model” for the actor is seen in mannequins, puppets, or effigies – is developed through such questions as the following: What difference does it make to the concept of “theatre” when thought of in terms “of death”? What thought of mimesis do the dead admit of? How has this been figured, historically, in aesthetics? How does an art of theatre participate in the anthropological history of relations between the living and the dead? In this history, how have actors been thought to represent the dead – not in the interpretation of fictional “characters” (from the dramatic canon), but in their very appearance, before an audience, as actors? How might (a minor history of) modernist theatre practice be considered in terms of an iconography of such appearances – as distinct from a question of actor training, still less as a question of written drama?

This dissertation interrogates how the Caracas-based collective El Techo de la Ballena (active 1961−69) vacillated between the sociopolitical concerns that provided the basis for its proposals and the wide array of mainstream tendencies that informed its anti-aesthetic stances. El Techo dialogued with a variety of global currents in a multifaceted practice that encroached upon the realms of the aesthetic, the political, and the literary. In spite of evident convergences with au courant tendencies in these spheres, a fundamental retrograde stance anchored the proposals of these radicalized writers, artists, poets, and art critics. As I argue, their compulsion to return to the past reflected an aversion towards a critical Cold War moment marred in Venezuela by several key factors: a far from peaceful transition to democracy during the government of Rómulo Betancourt, a rapid physical transformation fueled by increasing oil revenue, persistent underdevelopment, and a less than equitable distribution of wealth. In Part I, I establish the socioeconomic and cultural conditions upon which El Techo based its multidisciplinary interventions. Two chapters investigate the critical issue of the Venezuelan petro-state at midcentury: the unbalance between a rapid officially-sanctioned socioeconomic development and the slower agricultural temporalities that continued to determine the rhythms of vast sectors of the population. I contend that the collective responded to the problems unleashed by a national economy built on petroleum and the parallel development of a fad aesthetic, Informalism, which emerged from the cultural excesses of that unstable developmentalist model. I organize Part II around three case studies that closely examine El Techo’s deliberate inversion of an internationally aligned modernity that hinged on the need for constant evolution and progress in the visual arts. I maintain that the collective’s overarching interest in the retrograde was the chief value that held its work together during the critical 1961 to 1964 period when it questioned the weight of Informalism and in later years when it turned to an alternate political lineage in its proposals. / 1 / Maria C. Gaztambide

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Texte remanié de: Diss.--Philosophisch-Historische Fakultät--Heidelberg--Ruprecht-Karls-Universität, 1997. / Bibliogr. p. 361-386. Notes bibliogr.