Este trabalho propõe uma análise da viagem do artista francês Antonin Artaud ao México no ano de 1936. Por meio das correspondências e dos textos de Artaud produzidos neste país, pretende-se problematizar a sua concepção sobre a Revolução Mexicana e sobre os seus desdobramentos políticos e culturais durante os anos 1930, as suas ideias sobre as culturas indígenas e a sua relação com a realidade artística-intelectual mexicana. Parte-se da premissa de que o olhar de Artaud para o México foi formado por um ambiente intelectual e artístico marcado pelo Surrealismo, por um sentimento de crise da civilização europeia e por uma busca por formas de vida mais integradas entre o homem, a natureza e a arte. Artaud chega ao México em fevereiro de 1936 e permanece no país durante oito meses. Segundo suas próprias palavras, fora em busca do que ele denominaria de esoterismo mexicano o único que se apóia ainda sobre o sangue e a magnificência de uma terra cuja magia só os imitadores fanatizados da Europa podem ignorar. Durante a estadia, antes de ir à terra dos Tarahumaras, proferiu conferências na Escola Nacional Preparatória e escreveu artigos em jornais mexicanos a respeito do teatro europeu, do teatro mexicano, do movimento surrealista francês, das suas expectativas com relação à cultura indígena mexicana e da sua busca existencial como artista. No entanto, a sua visita ao México se dá justamente no período pós-revolucionário, durante o polêmico e marcante governo de Lázaro Cárdenas, no qual há uma radicalização da querela entre os artistas denominados universalistas e aqueles conhecidos como nacionalistas. Os primeiros, ao defenderem uma arte moderna e universal, preconizavam a arte europeia como matriz aspecto que Artaud repudiava e os segundos, ao afirmarem uma arte nacional, pura, utilizavam-se da cultura indígena como elemento unificador da nação, mas sem o respeito pela magia e pelo esoterismo indígena que Artaud tanto pregava. Daí as hipóteses para a falta de repercussão sobre o artista francês durante a sua permanência no país. Artaud também projetou sobre o México percepções que ele nutria a respeito do teatro. Idealizador do chamado Teatro da Crueldade, Artaud reconheceu no ritual do peyote praticado pelos índios tarahumaras no México uma vivência que se aproximava do seu projeto teatral / This work proposes an analysis about the Mexico trip realized by the French artist Antonin Artaud in 1936. With Artauds correspondences and texts written in this country, it intends to discuss his conception about Mexican revolution and its political and cultural results during the 1930s years, his ideas about the Indian cultures and his relation with the Mexican artistic intellectual reality. We have the premise that Artauds look to México was formed by an intellectual and artistic surrounding marked for the Surrealism, by an European civilizations crisis feeling and by a search for lifes forms more integrated between man, nature and arts. Artaud arrived in México in February of 1936 and stayed in the country during eight months. With his own words, he was searching for what he called by Mexican esoterism the only one that still rest on the blood and the magnificent of a land whose magic only the fanatics imitators from Europe can ignore. During his permanence, before going to Tarahumaras land, Artaud was the speaker for conferences in the National Preparatory School and wrote articles for the Mexican newspapers about the European theatre, the Mexican theatre, the French surrealist movement and his Mexican Indian culture expectation. He also wrote about his own experience about his existential search as an artist. However, his Mexico visit had been done in the post-revolutionary period, during the polemic and notorious Lázaro Cárdenas government, when there was a radicalization of the debate between the artists known as universalists and other as nationalists. The first ones, when defended a modern and universal art, commended the European art as matrix aspect repudiated by Artaud and the second ones, when asseverated a national art, pure, had utilized the Indian culture like nations unifier element, but without the respect for the magic and for the Indian esoterism that Artaud always had been preached. These aspects could integrate the hypothesis that explains the lack of repercussion about the French artist during his stay in the country. Artaud also projected in Mexico the perceptions that he created about the theatre. The artist was the idealizer of the Cruelty Theatre, and he recognized in the Peyotes ceremony practiced by the Tarahumaras Indians in Mexico an environment close to his theatrical project

Habilitationsschrift--Sprach- und Literaturwissenschaft--Mannheim--Universität, 1986.

Stuttgart, Univ., Diss., 2002.

Thesis (M.A.)--Baylor University, 2006. / Includes bibliographical references (p. 212-222).

Cette thèse reconstruit pour la première fois la genèse et l’histoire de la revue Lettre internationale (1984-1993) et de son réseau européen d’éditions sœurs. / This is the first substantial work of scholarship on the history of the European journal network Lettre internationale (1984-1993).

Made available in DSpace on 2014-12-17T14:00:16Z (GMT). No. of bitstreams: 1 FredericoN_DISSERT.pdf: 2022028 bytes, checksum: 1bab8c5920acff310991e54ecc05714c (MD5) Previous issue date: 2012-05-26 / The issue of creating productions of hybrid matrices has demanded, for more than three decades, the attention of several theater theorists (COHEN: 1995; LEHMANN: 2007). The study of philosophers (DELEUZE & GUATTARI: 1995) has contributed for new concepts of the scene. These artistic practices, depending on the context, have been generating, more and more, new ways of staging. I will discuss the contamination caused by Antonin Artaud in contemporary theater, and the theater s infection by the performance, based on the thought of Barbara Browning (1995), from its capacity to penetrate and invade territories, and installs a new system. I affirm that the Totem Group (Recife PE) was contaminated by the performance and analyze two performative plays of the group, their points of convergence and separation. The first one is Ita, the search for the origin, the animal devir; the second is Caosmopolita, the body as a reflex of urbanity / A quest?o da cria??o de encena??es de matrizes h?bridas tem demandado, h? mais de tr?s d?cadas, a aten??o de diversos te?ricos teatrais (COHEN: 1995; LEHMANN: 2007). O estudo de fil?sofos (DELEUZE & GUATTARI: 1995) tem contribu?do para novas conceitua??es da cena. S?o pr?ticas art?sticas, que dependendo do contexto, v?m gerando cada vez mais, novas formas de encena??o. Abordarei a contamina??o causada por Antonin Artaud no teatro contempor?neo, e a quest?o da infec??o do teatro pela performance, tomando como base o pensamento de Barbara Browning (1995), a partir da sua capacidade de penetrar e de invadir territ?rios, e instalar um novo sistema. Afirmo que o Grupo Totem (Recife PE) foi contaminado pela performance e analisarei duas encena??es perform?ticas do grupo, seus pontos de converg?ncia e distanciamento. A primeira ? Ita, a busca da origem, o devir animal; a segunda ? Caosmopolita, o corpo como reflexo da urbanidade

Le témoignage de quelques artistes balinais et non balinais est le point de départ de cette recherche sur les pratiques du topeng balinais, ainsi que les enjeux interculturels qui ont été soulevés à partir de ces expériences. Dans le milieu théâtral, Bali le récit-témoignage d’Antonin Artaud sur le théâtre balinais posera les bases de la création d’une imagerie de Bali et de ses manifestations performatives. À partir des années 1970, de nombreux artistes de théâtre voyagent à Bali pour apprendre in loco ces manifestations artistiques, en particulier le topeng. Inversement, des artistes balinais voyagent à l’étranger et s’établissent dans d’autres pays. Pour les artistes non balinais, le voyage à Bali a provoqué des moments de bouleversement divers. Cette recherche essayera de confronter les apprentissages et les bouleversements des artistes balinais et non balinais pour essayer de comprendre les différents rapports au masque et à l’apprentissage de la danse. Pouvons-nous établir des lignes de transmission de ces pratiques ? Quels rapports ces artistes étrangers ont entretenu avec le topeng, avec Bali et les Balinais eux-mêmes ? Quelle est la perception de certains artistes balinais de ces étrangers ? Les différents aspects de la notion de taksu, couramment traduite par « présence de scène », seront approchés, pour essayer de comprendre les enjeux liés à ses différentes formulations. Finalement, pour moi, le voyage à Bali a signifié une transformation de ma cartographie personnelle, un changement de perspective m’amenant ainsi à repenser ce binôme Orient-Occident, tant présent dans les discussions concernant l’Asie. / Personal accounts of certain Balinese and non-Balinese artists are the point of entry of this research conducted on practices of the Balinese topeng art form, as well as the intercultural issues often emerging in such experiences. In the theatrical milieu, Antonin Artaud’s narrative-testimony would found the bases for the creation of a Balinese imaginary and its multiple performative manifestations. Beginning in the 1970s, many theatre artists voyaged to Bali to learn in loco about these different artistic manifestations, specifically topeng. Inversely, certain Balinese artists would voyage abroad, establishing themselves in other countries. For non-Balinese artists, the trip to Bali has prompted different types of upheaval. Such disruptive moments have been described as instances in which otherness is directly perceived. This research addresses the learning processes and the upheavals of Balinese and non-Balinese artists, attempting to understand the different links to the mask and to the teaching and learning of dance. Can we establish the means in which these practices are transmitted? What relations have foreign artists maintained with topeng, with Bali, with the Balinese, themselves? How do certain Balinese artists perceive foreigners? The different aspects of the notion taksu, frequently translated as “stage presence” will be analysed to better comprehend the issues surrounding its diverse formulations. Finally, engaging a personal viewpoint, my own voyage to Bali signified a transformation of my cartography, a change of perspective that permitted rethinking the binary East-West, which is so predominant in discussions concerning Asia.

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.

<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.