<p>This essay is an introduction to the intentions and purposes of the british play writer Sarah Kane (1971-1999). Her own voice is presented both via quotations linked to her work and by an explanation of her connections to the surrealist poet and actor Antonin Artaud. The main focus is on Kane’s second play, Phaedra’s Love, first performed in 1996. The play is analyzed in co-relation to La volonté de savoir, the first volume in Michel Foucault’s trilogy Histoire de la sexualité. The analysis concentrates on how the structures in society control and act in relationship to and in collision with desire.</p><p>In La volonté de savoir Michel Foucault presents the thesis that there exists a special talk about sex and sexuality. A talk that states that these are repressed issues. Foucault asserts that such a talk originates from several discourses and institutions in society and together they constitute a chain of power. In his analysis Foucault examines why we declare ourselves as oppressed and what consequences that generates. This essay relies heavily on an inquiry of these consequences and its discourses. The theories of Foucault are applied to Phaedra’s Love and explain the scenarios in which the social discourses of power collide and how they try to affect the characters and their desire. Together they make clear, that desire, in the play, is not primarily related to sex and sexuality. It is rather a desire; the object of which is the state of self-governed individuality. A need for an individual space in the discourses of talk. The main characters, Phaedra and Hippolytus, changed attitude concerning talk and silence result in a powerful social reaction. They both riot against a structure which maintains the standard discourses of power and knowledge. The riot is to be read as the final outcome of the society that surrounds them. The social reaction that comes with this exposes that the controlling discourses of power ultimately are based upon, not talk, but violence.</p><p>Several other aspects are of importance for the analysis and its conclusions even though they are not pointed out in this abstract. The play Phaedra’s Love and Foucault’s theories both operate on numerous levels at the same time, and as a whole, they both present experiences they wish the spectator/reader will reflect upon.</p> / <p>Uppsatsen ger en ingång till den brittiska dramatikern Sarah Kanes intentioner som pjäsförfattare. Hon kommer själv till tals via citat knutna till sin produktion och genom påvisade beröringspunkter med den surrealistiska poeten och skådespelaren Antonin Artaud. Tyngdpunkten ligger på Kanes andra pjäs; Phaedra’s Love, uruppförd 1996. Med stöd i Michel Foucaults Viljan att veta band 1 ur trilogin Sexualitetens historia undersöks det hur samhällets strukturer kontrollerar och verkar tillsammans med och i kollision med begäret i pjäsen.</p><p>Michel Foucault driver i Viljan att veta tesen att det finns ett särskilt tal om könet och sexualiteten, ett tal som hävdar att dessa är förtryckta. Foucault menar att ett sådant tal utgår från flera olika diskurser och institutioner i samhället och att de tillsammans utgör en maktens relation. Foucault undersöker i sin analys varför vi påstår oss vara förtryckta och vad det får för konsekvenser. Analysen av pjäsen fördjupar sig i dessa konsekvenser och dess diskurser under rubrikerna: ”Familj och monarki”, ”Tal och tystnad”, ”Begär”, ”Motstånd”, ”Bekännelse”, ”Samhälle” och ”Våld”. I varje avsnitt appliceras Foucaults teorier på Phaedra’s Love och förklarar det scenario som uppstår då samhällets maktstrukturer kolliderar med och försöker påverka rollfigurernas begär.</p><p>Genom analysen av pjäsen visar sig begäret inte primärt vara sexuellt relaterat utan rör istället begäret att agera som självständigt subjekt. Behovet av att ta subjektiv plats i talet och dess diskurser. Rollfigurernas förändring i förhållningssätt till talet och tystnaden och deras agerande därefter utlöser en kraftig reaktion från samhällets sida. Huvudrollerna Phaedra och Hippolytus gör uppror mot de strukturer som bibehåller makten och vetandets diskurser intakta. Deras agerande kan läsas som en reaktion provocerad ur det samhälle som omger dem. Samhällets reaktion mot detta visar, i sin tur, på att maktens kontrollerande diskurser ytterst inte ligger i talet utan i våldet.</p><p>Flera andra aspekter är av betydelse för analysen och dess slutsatser även om de inte poängteras här i sammanfattningen. Kanes pjäs rör sig liksom Foucaults teorier parallellt på flera genomgripande nivåer. Som helhet presenterar dock de båda en erfarenhet med en förhoppning om att åskådaren/läsarens ska ta tillvara densamma.</p>

This essay is an introduction to the intentions and purposes of the british play writer Sarah Kane (1971-1999). Her own voice is presented both via quotations linked to her work and by an explanation of her connections to the surrealist poet and actor Antonin Artaud. The main focus is on Kane’s second play, Phaedra’s Love, first performed in 1996. The play is analyzed in co-relation to La volonté de savoir, the first volume in Michel Foucault’s trilogy Histoire de la sexualité. The analysis concentrates on how the structures in society control and act in relationship to and in collision with desire. In La volonté de savoir Michel Foucault presents the thesis that there exists a special talk about sex and sexuality. A talk that states that these are repressed issues. Foucault asserts that such a talk originates from several discourses and institutions in society and together they constitute a chain of power. In his analysis Foucault examines why we declare ourselves as oppressed and what consequences that generates. This essay relies heavily on an inquiry of these consequences and its discourses. The theories of Foucault are applied to Phaedra’s Love and explain the scenarios in which the social discourses of power collide and how they try to affect the characters and their desire. Together they make clear, that desire, in the play, is not primarily related to sex and sexuality. It is rather a desire; the object of which is the state of self-governed individuality. A need for an individual space in the discourses of talk. The main characters, Phaedra and Hippolytus, changed attitude concerning talk and silence result in a powerful social reaction. They both riot against a structure which maintains the standard discourses of power and knowledge. The riot is to be read as the final outcome of the society that surrounds them. The social reaction that comes with this exposes that the controlling discourses of power ultimately are based upon, not talk, but violence. Several other aspects are of importance for the analysis and its conclusions even though they are not pointed out in this abstract. The play Phaedra’s Love and Foucault’s theories both operate on numerous levels at the same time, and as a whole, they both present experiences they wish the spectator/reader will reflect upon. / Uppsatsen ger en ingång till den brittiska dramatikern Sarah Kanes intentioner som pjäsförfattare. Hon kommer själv till tals via citat knutna till sin produktion och genom påvisade beröringspunkter med den surrealistiska poeten och skådespelaren Antonin Artaud. Tyngdpunkten ligger på Kanes andra pjäs; Phaedra’s Love, uruppförd 1996. Med stöd i Michel Foucaults Viljan att veta band 1 ur trilogin Sexualitetens historia undersöks det hur samhällets strukturer kontrollerar och verkar tillsammans med och i kollision med begäret i pjäsen. Michel Foucault driver i Viljan att veta tesen att det finns ett särskilt tal om könet och sexualiteten, ett tal som hävdar att dessa är förtryckta. Foucault menar att ett sådant tal utgår från flera olika diskurser och institutioner i samhället och att de tillsammans utgör en maktens relation. Foucault undersöker i sin analys varför vi påstår oss vara förtryckta och vad det får för konsekvenser. Analysen av pjäsen fördjupar sig i dessa konsekvenser och dess diskurser under rubrikerna: ”Familj och monarki”, ”Tal och tystnad”, ”Begär”, ”Motstånd”, ”Bekännelse”, ”Samhälle” och ”Våld”. I varje avsnitt appliceras Foucaults teorier på Phaedra’s Love och förklarar det scenario som uppstår då samhällets maktstrukturer kolliderar med och försöker påverka rollfigurernas begär. Genom analysen av pjäsen visar sig begäret inte primärt vara sexuellt relaterat utan rör istället begäret att agera som självständigt subjekt. Behovet av att ta subjektiv plats i talet och dess diskurser. Rollfigurernas förändring i förhållningssätt till talet och tystnaden och deras agerande därefter utlöser en kraftig reaktion från samhällets sida. Huvudrollerna Phaedra och Hippolytus gör uppror mot de strukturer som bibehåller makten och vetandets diskurser intakta. Deras agerande kan läsas som en reaktion provocerad ur det samhälle som omger dem. Samhällets reaktion mot detta visar, i sin tur, på att maktens kontrollerande diskurser ytterst inte ligger i talet utan i våldet. Flera andra aspekter är av betydelse för analysen och dess slutsatser även om de inte poängteras här i sammanfattningen. Kanes pjäs rör sig liksom Foucaults teorier parallellt på flera genomgripande nivåer. Som helhet presenterar dock de båda en erfarenhet med en förhoppning om att åskådaren/läsarens ska ta tillvara densamma.

Le phénomène de la création dans le cadre d’un discours sur la création – la production littéraire et artistique – ne va pas de soi. La tâche de le circonscrire comme un objet est antinomique : l’expérience du discours est en soi une création. Alors que le langage écrit semble au plus souvent «supprimer» l’auteur, le processus de création implique un «Je» créateur qui pense, qui se transforme, qui vit et dont la pensée s’imbrique à son objet qui, quant à lui, est «supprimé»; car il n’est pas extérieur à la pensée mais en relation avec elle. Ce travail, qui démontre le rapport complexe entre l’objet, la critique, le sujet et le commentaire, se penche donc sur l’«avant», le «pendant» et l’«après» de la création, dans un acte de mémoire, qui découle d’une performance littéraire sur la création. Des forces motrices informes et inconscientes, à la mise en forme jusqu’à la transmission, qui lui redonne un caractère d’informe, la création est en mouvement, comme le savoir est toujours prisonnier d’un «work in progress». Tributaire d’Antonin Artaud, le texte s’inscrit à partir de l’artiste en guise d’archétype existentiel, et s’y réfère constamment pour témoigner de la création sans la détacher de la vie et de ses expériences. Pour accéder au mystère du processus de création, lié à la pensée subjective, inobjectivable et irréductible au discours linéaire, ce travail met l’accent sur les associations de la pensée qui procède, exprimées par un «Je» exemplaire omniprésent, tatoué par l’expérience, mais à la position ambiguë à titre d’auteur. Processus de vie, de pensée et de création sont non seulement entremêlés, mais traversés par le champ du tout autre, historique, mondial et social, en perpétuelle évolution. Le rôle du créateur n’est pas de ne créer qu’à partir des connaissances extérieures à lui, mais à partir de lui-même – de son moi multiple et de sa pensée imprégnée de lectures et de ce qui le traverse et l’habite dans un temps donné – pour aboutir à la mise en forme d’un texte cohérent, d’une gravure particulière de l’esprit en marche vers le savoir, qui se situe toujours dans le devenir. / The creation phenomenon within a discourse on creation – the literary and artistic production – is not self-evident. The task to define it as an object is antinomic; the experience of discourse is in itself creative. While written language seems often to “suppress” the author, the creation process actually implies a creative “self” who thinks, lives and transforms itself, and whose thoughts are overlapping into its object, which is thus “suppressed” because it is not outside of thought, but bound to it. This work, showing the complex relationship between object, criticism, subject and comment, is focussed on the “before”, “during” and “after” portions of the creative process, in an act of memory that stems from a literary performance about creation. From the shapeless and unconscious forces at its origin, to the its shaping, and then transmission, which gives it back its shapeless form feature, creation is in motion as knowledge is always captive of the work in progress. Tributary of Antonin Artaud, the text acts as an existentialist archetype of the artist and refers to him constantly to show creation without separating it from life and its experiences. To access the mystery of the creative process, linked to subjective, non-objectivable tought irreducible to linear discourse, this work focuses on the associations within the mind that proceeds, expressed through an ever present and exemplary “self”, tainted by experience, but in the ambiguous position of author. The processes of life, thought and creation are not only intertwined but infused by the “outside”, which is historical, global, social and in perpetual evolution. The creator's function is not to create based solely on his external knowledge, but from within himself – from his multiple selves and his mind filled by what he reads, what goes through his mind and inhabits him at a given time – to eventually shape a coherent text, a specific engraving of the soul as it marches towards the knowledge always hiding in the becoming.

Made available in DSpace on 2014-12-17T14:20:31Z (GMT). No. of bitstreams: 1 GerluziaOA_TESE.pdf: 5560848 bytes, checksum: 3aaaa2f24effe93fadf312c813bf2713 (MD5) Previous issue date: 2014-05-30 / Antonin Artaud, a name that reminds us of areas ranging from theater to poetry, linguistics to psychoanalysis, is a multipurpose name that transits as poet, painter, writer, actor, screenwriter, playwright and theater director. Artaud s route is raw material for researchers of various hues interested in a life and work that allows panning in different fields of knowledge. It raises the question of language and manipulation of signals in terms of magical forces and the relationship maintained through them with the cosmos and the divine. Artaud searches through a language of signals, gestures and objects that express themselves by objective forms and the use of words as solid objects. For him, the language of words must give way to the language of signals, whose objective aspect is what strikes us most immediately. Our work indicates the possibility of realization and recognition of the aesthetic of cruelty present in the writing drawings of artaudian s work, realizing thus, that art as a record of culture hence as double of life allows us a more critical and transforming look to the society, thinking about the aesthetics of cruelty as Artaud proposes and thinks cruelty: as appetite for life. Our dialogue held during the construction of this journey has the company, besides the one of Antonin Artaud, other authors such as Jacques Derrida, Gilles Deleuze and Felix Guatarri, among others which, during the hike and framing of this route help us to think about the aesthetics of cruelty in an Artaudian perspective / Antonin Artaud, nome que nos remete a ?reas que v?o do teatro ? poesia, da lingu?stica ? psican?lise, ? um nome polivalente que transita nas atividades de poeta, pintor, escritor, ator, roteirista, dramaturgo e diretor teatral. A trajet?ria de Artaud ? mat?ria-prima para pesquisadores dos mais variados matizes, interessados numa vida e numa obra que possibilitam garimpar em v?rias ?reas do conhecimento. Ele coloca a quest?o da linguagem e da manipula??o de signos em termos de for?as m?gicas e da rela??o mantida, atrav?s deles, com o cosmos e com o divino. Artaud busca uma linguagem atrav?s dos signos, de gestos e objetos que se expressam pelas formas objetivas e pelo uso das palavras como objetos s?lidos. Para ele, a linguagem das palavras deve dar lugar ? linguagem por signos, cujo aspecto objetivo ? o que mais nos atinge de imediato. Nosso trabalho aponta a possibilidade da percep??o e do reconhecimento da est?tica da crueldade nos desenhos escritos presentes na obra artaudiana, percebendo, assim, que a Arte como registro da cultura portanto, como duplo da vida , nos possibilita um olhar para a sociedade mais critico e transformador, pensando a est?tica da crueldade como Artaud prop?e e pensa a crueldade: como apetite de vida. Nosso di?logo mantido durante a constru??o dessa caminhada tem a companhia, al?m de Antonin Artaud, de autores como Jacques Derrida, Gilles Deleuze e F?lix Guatarri, dentre outros que, no decorrer da caminhada e constru??o desse percurso nos ajudam a pensar a est?tica da crueldade numa perspectiva artaudiana

Orientador: Verônica Fabrini Machado de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T05:47:04Z (GMT). No. of bitstreams: 1 Frias_CassianeTomilhero_M.pdf: 3569078 bytes, checksum: d9c0428c2f4e4972db506b74c49433af (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa propõe uma investigação sobre os aspectos políticos presentes nas obras de Antonin Artaud e as implicações do trabalho deste autor na relação entre teatro e poder. Levando em consideração a extensa obra de Artaud e sua grande contribuição para o teatro e para a cultura, visando fazer um recorte para este trabalho, escolhemos dar maior ênfase em escritos produzidos em dois períodos da vida do autor: a participação no movimento surrealista e o período de internação em asilos da França, principalmente em Rodez. Com intuito de trazer um caráter híbrido à pesquisa teatral, procuramos analisar o estudo das obras de Artaud à luz de conceitos advindos da filosofia, principalmente às questões que se referem às relações de poder abordadas por Michel Foucault. No último capítulo, propomos uma aproximação entre as propostas artaudianas e sua contribuição para o teatro hoje através de autores como Antônio Negri e Hans-Thie Lehman, visando discutir qual é o espaço do teatro atual nas relações de poder contemporâneas / Abstract: This research proposes an investigation about the political aspects in the works of Antonin Artaud and its implications to the relation between theater and power. Due the extension of his entire work and the impact through theater and culture, we decided to focus in his writings done in two periods of his life: the participation in the surrealist movement and the period of hospitalization in French asylums, mainly Rodez. In order to bring a hybrid character to theater research, we analised the study of Artaud's works through filosofical concepts, especially issues related to power relations pointed by Michel Foulcault. In the last chapter, we approach Artaud's proposals and contributions for today theater through authors such as Antonio Negri and Hans-Thie Lehman, trying to discuss which space is left to theater in contemporary power relations / Mestrado / Artes / Mestre em Artes

Este trabalho tem como objetivo abordar uma das obras mais importantes do escritor francês Antonin Artaud, Le Théâtre et son double, explorando o universo artaudiano, a partir de conceitos, como a peste e a crueldade. O estudo procura abordar a proposta de Teatro da Crueldade e as críticas feitas por Artaud em relação aos espetáculos apresentados na França na década de 1930. Por meio de uma crítica ao chamado teatro psicológico, Artaud exalta um teatro constituído por diversas linguagens, não restrito à mera reprodução do texto. Sem a pretensão de abordar a extensa obra escrita por Artaud, a dissertação tem como objetivo tratar de aspectos revelantes dos conceitos tratados por Artaud, como a crueldade e a peste, tentando identificar em sua proposta de teatro, o desenvolvimento de conceitos ligados à psicanálise, como a pulsão de morte. Procuramos, ainda, discutir o processo de criação de Artaud, problematizando a figura do Pai em sua escrita e a chamada outra cena do inconsciente que seria aberta pelo teatro da crueldade. / The purpose of this research is to analyse one of the most important works of Antonin Artaud, The Theater and its double (Le Théâtre et son double), exploring his universe from concepts like the pest and cruelty. The study seeks to analyse the proposal of the Theatre of Cruelty and the criticisms made by Artaud in relation to theatrical performances presented in France in the 1930s. By making a critique of the psychological theater, Artaud ideates a theater consisted of different languages, not restricted to the simple reproduction of the text. Without attempting to address the extensive work by Artaud, the dissertation aims to analyse some aspects of important concepts created by Artaud, as the cruelty and the pest, trying to identify in its proposal for the theater, as well as the development of concepts related to psychoanalysis, like the death drive. We also aim to discuss the creation process of Artaud, by analyzing the figure of the Father in his writing and the so called \"other unconscious scene\" that would be opened by the theater of cruelty.

Orientador: Fabio Akcelrud Durão / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T21:55:34Z (GMT). No. of bitstreams: 1 Winter_LigiaMaria_D.pdf: 5771235 bytes, checksum: ed362af43a48a013403a9dff1d4f1402 (MD5) Previous issue date: 2012 / Resumo: A proposta deste trabalho é pensar o estatuto literário e político de uma escrita, que nomeio Escrita do Suporte, partindo da imagem habitual de um suporte lido como sustentáculo ou mediador neutro, terreno sobre o qual edificar instituições, a que nomear "pátria" ou em que fundar um Estado. Esse terreno neutralizado funciona como lugar de arquivamento e violência, que representa, para as Escritas do Suporte, uma impostura que se deve expor, publicar em seu centro regulador, para que se possa repensar a História. Essa impostura do suporte neutro, que se pretende exposta pelas Escritas do Suporte, mobiliza questões políticas e jurídicas, filosóficas, psicanalíticas e autobiográficas. O trabalho parte de textos de Jacques Derrida e Antonin Artaud, em especial compreendendo a Escrita do Suporte compartilhada entre uma carta de Artaud a André Rolland de Rénéville, escrita em 1932, o ensaio Enlouquecer o subjétil (1998b), no original Forcener le subjectile (1986a), em que Derrida retoma essa carta de Artaud, e a pictografia de Lena Bergstein, no ensaio em português, que se inscreve no lugar da ausência dos desenhos de Artaud, retirados pela artista brasileira do ensaio original, que fazia parte do livro Antonin Artaud: dessins et portraits, de Derrida e Paule Thévenin (1986a). Pela leitura desses textos, trazemos ao questionamento khôra, que Derrida faz intercambiar com o subjétil. Khôra é o suporte metafísico de Platão que excede a dialética. Na leitura do Timeu, de Platão (2011), pensamos tanto esse excesso, como o problema do estrangeiro e da política externa de guerras para a validação da técnica interna grega, a partir de um elemento aparentemente acessório e "pouco sério", a introdução de Sócrates. O problema dessa relação com o estrangeiro, todavia, é destinado ao rodapé por Derrida em Khôra, livro escrito sete anos após o ensaio sobre Artaud (1995b), bem como por Rousseau, como retoma Derrida em nota. Para nossa Escrita do Suporte, trazemos ao centro essa questão, da mesma maneira como a Escrita do Suporte traz ao centro da cena os elementos que nela pareciam acessórios, reservados à margem. Nesse deslocamento, pensamos o problema da língua e da pátria, que Derrida traz a Enlouquecer o subjétil, e, em especial, a questão de um "habitar a casa na apatridade", que lemos com Vilém Flusser (2007). Juntamente com khôra, pensamos outro excesso que Derrida faz intercambiar com o subjétil: cruauté, e com ela relemos os textos de Antonin Artaud. Por fim, compreendemos as estratégias de antecipação, justaposição/sobreposição (l'air surajoutée) e encenação de um arrancamento de cena como técnicas compartilhadas por Artaud, Derrida e Bergstein nessa Escrita do Suporte, em seus quatro movimentos: uma primeira neutralização do suporte, seguida pelo desarquivamento de suas variantes, passando para uma denúncia ou publicação da violência dessa neutralidade e, por fim, pela antecipação epistolar do teatro, que compreenderemos como uma dimensão "missiva", referente às cartas que pedem o compartilhamento entre desencontros, recuando as remissões. Esses quatro movimentos são também lidos por um questionamento das políticas do presente, pois é justamente essa a necessidade que se impõe para tais escritas / Abstract: This paper presents the political and literary status of a different kind of writing, called here as Support Writings. This concept comes from the habitual image of a support read as the basis or mediator for institutions to be built upon, as somewhere to be called homeland or as somewhere to found a State. This neutral foundation site works as a place of an "archive of violence", that represents, for the Support Writings, an imposture that needs to be exposed, published, in order for History to be thought differently. The neutral foundation imposture involves political, juridical, philosophical, psychoanalytical and autobiographical issues. The paper starts by reading Jacques Derrida and Antonin Artaud, specially understanding the Support Writings shared by a letter from Artaud to André Rolland de Rénéville, written in 1932, and an essay by Jacques Derrida, Maddening the subjectile, in Portuguese Enlouquecer o subjétil (1998b), from the original Forcener le subjectile (1986a), in which Derrida brings this letter by Artaud. The Support Writings is also shared by the graphic work of a Brazilian artist, Lena Bergstein, who removes the drawings by Artaud, included as part of the book Antonin Artaud: dessins et portraits, by Derrida and Paule Thévenin (1986a), and inserts her own, in the Portuguese version. From these texts, we bring the image of khôra, which Derrida thinks as part of the image of his subjectile. In Plato's text Timeu (2011), khôra is the metaphysical support that exceeds dialectics. Reading Timeu, we considered this excess also in relation to the question of the "foreigner" and the external politics of war as a validation of the internal Greek technique, by reading the apparently "accessory" and "less serious" introduction by Socrates. These questions are destined to footnotes by Derrida in Khôra, written seven years after the essay about Artaud (1995b), as well as by Rousseau, who Derrida talks about in the footnote. To our Support Writings, we bring this problem back to the center or the argument, the same way as the Support Writings bring back to the center its elements destined to the margins, considered accessories. With this displacement, we think about language and homeland, together with Derrida in Maddening the subjectile, specially through the topic of an "habitar a casa na apatridade", read with the Czech- Brazilian critic Vilém Flusser (2007). Together with khôra, we consider another "excess" that Derrida thinks as the subjectile: cruauté, and with it we read Antonin Artaud's texts. At last, we present the strategies of anticipation, juxtaposition (l'air surajoutée) and the scene of a scene displacement as shared techniques by Artaud, Derrida and Bergstein in these Support Writings, with its four movements: a first support neutralization, followed by a disorganization of the archive and its variants, then an exposure or publication of its "neutral violence", and, at last, an epistolary anticipation of the Theater, which we understand as a "missive" dimension, referring to the letters, asking for the displacement to be shared, retreating language's remissions. These four movements are also read by a questioning of the politics of the present, because that is the first necessity imposed by these writings / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

Le théâtre de la cruauté d’Antonin Artaud (1896-1948) participe à une libération des langages artistiques au profit du sens déterminante dans l’histoire de l’art du XXème siècle. Dans ce théâtre, l’acteur représente le point de départ d’un langage originaire fondé sur le souffle et le geste qui favorise une communication affective avec le spectateur. Le théâtre musical de la cruauté de Wolfgang Rihm (1952) s’inspire de ce langage à travers les thématiques du rite, du mythe et du rêve, porteuses d’un théâtre inhérent à la vie. Ces thématiques sont propices au développement d’une vocalité qui rend perceptible la corporalité du chanteur grâce à une déconstruction de la matière langagière. Rihm exploite la matière phonique de la langue sous forme de glossolalies, cherche différents aspects du cri en tant qu’élément premier du langage, utilise le souffle comme une matière sonore. Cette vocalité rejoint son approche instrumentale qui travaille le son à partir du timbre, du rythme et de l’intensité sans chercher à l’enfermer dans une logique systémique. Intégrée au processus compositionnel, la disposition des musiciens et des chanteurs dans l’espace rejoint également la conception d’un espace scénique vivant dans le théâtre d’Artaud. Au fur et à mesure de son théâtre musical de la cruauté, Rihm laisse ses matériaux sonores inspirés par Artaud se réécrire dans une forme de palimpseste. / The theater of cruelty of Antonin Artaud (1896-1948) participates in a liberation of artistic language over decisive meaning in the history of 20th century art. In this theater the actor is the starting point for a language of origins founded on breath and gesture, which promotes affective communication with the audience. The musical theater of Wolfgang Rihm (1952) takes it’s inspiration from this language via the themes of ritual, myth, and dream, all which bear a theater inherent to life. These themes are developed through a vocalization, which renders visible the corporeality of the singer through a deconstruction of language matter. Rihm exploits the phonic matter of language in the form of glossolalia, seeking different aspects of the scream as the primal element of language, employing breath as sonorous matter. This vocalization rejoins his instrumental approach, which uses sound drawn from timbre, rhythm and intensity without seeking to enclose it within a logical system. Integrated into the compositional process, the spacial arrangement of the musicians and the singers rejoins the concept of a living scenic space in Artaud’s theater. As Rihm’ s musical theater of cruelty progresses, it allows the sonoral matter inspired by Artaud to rewrite itself in a form of palimpsest.

This thesis argues that presence in the performing arts can be reconceived, via the philosophy of Gilles Deleuze, as an encounter with difference or ‘differential presence’ which is variously defined as immanence, destratification, affect/becoming, and duration. These definitions are developed through a series of four analyses of exemplary performance practices: 1) The Living Theatre; 2) Antonin Artaud; 3) Allan Kaprow and 4) Goat Island. Chapter One recuperates the Living Theatre from a dominant narrative of ‘failure’, aided by the Deleuzian concepts of ontological participation, immanence, production/creation and ‘the people to come’. Reframing the company as pioneers of methods such as audience participation and collective creation, the chapter argues that their theatrical ambition is irreducible to some simple pursuit of undifferentiated presence (as authenticity or communion). Chapter Two provides an exposition of three key concepts emerging in the encounter between Artaud and Deleuze: the body without organs, the theatre without organs, and the destratified voice. The chapter proposes that To have done with the judgment of god constitutes an instance of a theatre without organs that uses the destratified voice in a pursuit of differential presence – as a nonrepresentative encounter with difference that forces new thoughts upon us. Chapter Three defines differential presence in relation to Deleuze’s concepts of affect and becoming-imperceptible and Kaprow’s concepts of ‘experienced insight’, nonart, ‘becoming “the whole”’, and attention. The chapter argues that Kaprow and Deleuze share a concern to theorize the practice of participating in actuality beyond the subject/object distinction, in a manner that promotes an ethico-political sense of taking part in “the whole”. Finally, Chapter Four focuses on the temporal aspect of differential presence, arguing that through slowness, waiting, repetition and imitation, Goat Island’s performance work acknowledges and responds to ‘the need to open ourselves affectively to the actuality of others’ (Mullarkey 2003: 488).

Made available in DSpace on 2016-04-28T20:37:34Z (GMT). No. of bitstreams: 1 Manoela Farias Nogueira.pdf: 2998719 bytes, checksum: adcd4a83569f1223e905183201cb656a (MD5) Previous issue date: 2010-09-24 / Esta dissertação constitui-se de três partes: Anonimato e autobiografia, O carretel e De onde a terra retira o seu alimento? Na primeira parte, em Anonimato e autobiografia II, questiona-se a possibilidade de escrever um trabalho acadêmico, na área de fronteira entre a filosofia, a psicologia e a literatura. Que assunto, que tema poderia dar conta de preencher uma dissertação? Qual estudo seria capaz de manter a atenção de um pesquisador-escritor? Na parte seguinte, começa-se a investigar os escritos de Bernardo Soares, heterônimo de Fernando Pessoa. O Livro do Desassossego, a partir das pesquisas de José Gil, é encarado como um enorme diário de descrições exteriores e sensações subjetivos, formando um diário infinito. O desenrolar da paisagem cadência o acontecimento das sensações, levando Soares a uma espécie de devir-paisagem. No último texto de O carretel, em Ele Olhava pela janela algumas anotações sobre Kafka e sobre o pensamento deleuziano do cinema, em particular sobre a noção de extracampo, especulam os pontos que liberariam a imagem do devir-paisagem, ou seja, quando o carretel do diário arrebenta. Cortada abruptamente a teoria, entre-se na última parte De onde a terra retira o seu alimento? Aqui estão reunidos textos heterogêneos, que já tentavam avançar sobre a dissertação desde o princípio. São crônicas, ficções, páginas de diários, poesias, coletâneas de textos da literatura... Nesse conjunto ecoa a pergunta do cão, afinal, De onde a terra retira o seu alimento? Esses textos se pretendem uma impossibilidade de resumo das situações aqui criadas, ou seja, em seu conjunto estão antes ou além da autobiografia, do diário e da narrativa de sensações. Também não se procura responder ao cão, apesar de sempre ser possível ouvir os ecos de seus latidos, pois em Sheol Literrário, último texto dessa parte, percebe-se que nem a tentativa de escrita dará conta da pergunta-título, e assim entra mais um volume para a biblioteca. Talvez seja possível ler o texto em ordem aleatória, pois cada texto tenta ser independente em si. A própria escrita não foi sistemática, como poderá observar o leitor, e reúne-se aqui escritos de várias épocas. Apesar da dissertação não ser uma resposta à pergunta-título através da escrita, gostaria de comentar o prazer com que alguns textos foram escritos, e principalmente, o surgimento da vontade de escrever. Afinal que outra atividade se aproxima tanto do quotidiano e das caminhadas, senão a escrita e o diário? E ainda, o que é uma dissertação se não um conjunto de textos?