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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Antonin Artaud : trad-auctor. L'acte traductif à la lumière du « théâtre de la cruauté »

Avci, Alice January 2014 (has links)
La présente thèse a pour objet de porter un regard traductologique sur l’œuvre protéiforme d’Antonin Artaud afin de dégager sa vision de l’acte traductif et du statut du traducteur. Le corpus à l’étude comprend non pas les textes traduits ou adaptés par Artaud, mais plutôt les paratextes qui les accompagnent (p. ex., préfaces, postfaces, notes, correspondance, manifestes). Nous partons du postulat qu’Artaud considère la traduction comme une forme de réécriture, c’est-à-dire un vecteur créatif dans lequel l’original et sa traduction sont deux entités interdépendantes. En guise de cadre théorique, nous faisons un survol de l’évolution du rapport entre l’original et la traduction. Il s’agit de montrer comment, dans le prolongement de la pensée poststructuraliste, ce rapport s’est inversé pour faire de l’original un texte dérivé dont le sens est tributaire du regard d’autrui. N’ayant pas laissé de « théorie » proprement dite sur la traduction, Artaud a pourtant largement écrit sur le théâtre et le cinéma. Ces deux domaines ont peut-être ceci de comparable avec la traduction qu’ils font appel à la représentation et mettent en jeu une triade quasi identique : le dramaturge/l’auteur, le metteur en scène/le traducteur et le spectateur/le lecteur. Dans Le théâtre et son double, Artaud souhaite mettre fin à l’assujettissement du metteur en scène à l’auteur et au texte, revendication qui s’apparente beaucoup à sa démarche traductive. Cet ouvrage nous sert donc d’appui pour brosser un portrait global de la vision « artaldienne » de l’acte traductif. Après y avoir puisé des notions transposables à la traduction, comme le double, le rapport subversif à l’auteur et le rôle central du spectateur, nous nous attardons sur le message qui ressort des paratextes, afin de mieux saisir comment Artaud s’approprie le texte traduit. La mise en parallèle entre les écrits d’Artaud sur le théâtre et ses paratextes sur l’acte traductif montre qu’Artaud était un poststructuraliste avant la lettre, ayant prévu certains des principaux concepts modernes liés à l’auctorialité. Notre analyse permet aussi de constater que le cas « Artaud » met en évidence le potentiel traductif de l’écriture.
2

A Montanha dos Signos. Antonin Artaud no México pós-revolucionário dos anos 1930. / The Mountain of Signs: Antonin Artaud in post-revolutionary Mexico of the 1930s

Mendonça, Tânia Gomes 21 February 2014 (has links)
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
3

Atos de incorporação: última correspondência com Antonin Artaud / -

Santos, Renan Dias 01 November 2018 (has links)
Um pesquisador nascido no Brasil em 1990 se depara com as cartas que Antonin Artaud escreveu durante seu período de internação no asilo de alienados de Rodez, na França, e descobre que chegou ao mundo arruinado. Decide não ignorar que sente uma imensa solidão e que, na maioria das vezes, se vê sozinho neste sentimento; que cresceu fingindo prazer e sentindo saudade, mas que já está desanimado até mesmo para sofrer; que a primeira coisa que disse, quando ainda era um bebê, foi: \"Olá, mamãe, eu já sei que você não sou eu, então estou livre!\" - e todos os adultos aplaudiram o espírito inteligente do menino que iria longe. Este pesquisador que nunca foi à Europa, mas está educado a falar com muita lucidez sobre qualquer matéria disponível no Eu e no além-Eu, recebeu três volumes de cartas escritas por Antonin Artaud, quem está morto há setenta anos, e começou então a ouvir dois tipos de silêncio: um que se estende por toda a superfície acima do palavrório, nasce sobre ele e preenche como neblina o espaço entre as ruínas, um silêncio compactuado; e um outro que grita impessoalmente na imensa falta de fundo abaixo das palavras. Não tem escolha: sente necessidade de partir, deseja esquecer Artaud. Ele se atrasa, porque segue com o corpo e abandona o espírito; leva o espírito, deixa cair a língua. Decide agarrar tudo o que vê pelo caminho, leva todas as palavras que encontra pela frente, para despejá-las no abismo de um silêncio público. E as páginas do presente trabalho são este movimento entre dois silêncios, um caminho de palavras arrastadas que ninguém poderá seguir, porque o pesquisador desapareceu sobre si mesmo. / A researcher born in Brazil in 1990 faces letters Antonin Artaud wrote during his internment period in the asylum of alienated of Rodez, in France, and finds out that he came into this world ruined. He decides not to ignore that he feels an immense solitude and that, most of the time, sees himself alone in this feeling; that he grew faking pleasure and feeling nostalgia, but is already too down-hearted even for suffering; that the first thing he said, when he was still a baby, was: \"Hello, mommy, I already know that you are not me, so I am free!\" - and all the adults applauded the clever spirit of the boy who would go far. This researcher that never went to Europe, but is educated to speak very lucidly about any available subject in the \"l\" and the beyond-\"I\", received three volumes of letters written by Antonin Artaud, who has been dead for sixty years, and started to listen to two kinds of silence: one that extends through all surface above the chatter, that is born over it, that fills the space between the ruins like a mist, an agreed silence; and another one that screams impersonally in the immense lack of bottom under the words. There is no choice: he feels the need to leave, wishes to forget Artaud. He gets late, because he follows with his body and abandons the spirit; he takes the spirit, lets his tongue fall down. He decides to grasp everything that he sees through the way, takes every words he finds ahead, in order to pour them into the abyss of a public silence. And the pages of the present work are this movement between two silences, a path of dragged words that no one will be able to follow, because the researcher disappears over himself.
4

Antonin Artaud et Bertolt Brecht : la révolution infinie : philosophies, mythologies et dramaturgies de la révolution / Antonin Artaud and Bertolt Brecht : the infinite revolution : philosophies, mythologies and dramaturgies of revolution

Garutti, Gérald 27 November 2017 (has links)
Contemporains capitaux, mythifiés de leur vivant, Artaud et Brecht sont morts en ignorant tout l’un de l’autre. Ce tandem imaginaire s’est néanmoins vu érigé en grand antagonisme de l’avant-garde. Au dualisme théâtral Cruauté vs Distanciation se sont superposées les confrontations esthétiques (performance vs brechtisme), politiques (situationnistes vs staliniens), idéologiques (transgression libertaire vs totalisation marxiste), philosophiques (critique postmoderne vs rationalisme occidental).Par-delà cette réduction instrumentale à deux machines de guerre théoriques adverses, un enjeu essentiel unit pourtant Brecht et Artaud : comment changer le monde ou la vie ? De cette Révolution infinie dont le théâtre n’est qu’un aspect, cette thèse explore les sens par la comparaison de leurs œuvres complètes en croisant littérature, philosophie et politique. Au-delà d’options divergentes, Artaud et Brecht partagent des problèmes, des rejets, des axes. I. Mythologies. Artaud et Brecht traquent la Révolution en brûlant ses mythes : embraser la terre (destruction, dégénérescence, décadence) ; changer la vie (paganisme, anarchismes, avant-gardes) ; transformer le monde (marxisme, indianisme). II. Pathologies. Pour éradiquer la contre-Révolution et canaliser la flambée des masses, ils attaquent la diversion religieuse, l’abrutissement par l’emprise (sexuelle, occulte, idéologique), et la domination (de l’inertie à la fureur fasciste). III. Philosophies & Dramaturgies. Dans le creuset du théâtre, sur deux scènes ontologiques, Brecht et Artaud forgent leurs Révolutions comme saut, dépassement, renversement et commencement. De leur géniale traversée, reste le brasier révolutionnaire de l’œuvre. / Artaud and Brecht, contemporaries transformed into mythological figures during their own life-times, died without having any knowledge of one another. They became, however, an imaginary couple, as it were, the two great antagonists of the avant-garde. The duality they represented —theatre of cruelty vs. theatre of alienation— acquired further meanings: aesthetic (performance vs. brechtian), political (situationist vs. stalinist), ideological (libertarian transgression vs. Marxist totalisation), and philosophic (post-modernist critique vs. western rationalism).Nevertheless, beyond the polemics, one essential concern united Brecht and Artaud: How to change the world and life? This thesis explores the meanings of that infinite revolution of which the theatre is but one aspect, by comparing their oeuvre as literature, philosophy, and politics. Their positions differed, but Artaud and Brecht shared the same problems and terms of discussion, and rejected the same solutions.I. Mythologies: Both of them pursued revolution while attacking its myths: setting the world alight (destruction, degeneracy, decadence); changing life (paganism, anarchism, the avant-gardes), transforming everything (Marxism, indianism).II. Pathologies: in order to resist Counter-Revolution and focus the ardour of the masses, they attack religion as a diversion; sexual, occult and ideological brutalisation; and all forms of domination (from passivity to fascist frenzy).III. Philosophies and dramaturgies: It is in the theatre that Artaud and Brecht forged their revolutions in the form of great leaps forward, reversals and new beginnings.What remains of their work is its incandescent revolutionary core.
5

L’avatar du Moi : l’évolution théorique de la poétique d’Antonin Artaud / The change of the ego : the theoretical development of the poetics of Antonin Artaud

Kumaki, Atsushi 25 June 2011 (has links)
Le but de la présente thèse est de retracer le changement théorique qu’a réalisé Antonin Artaud de la notion du moi, et par là d'éclairer la poétique particulière qu’il a établie à la fin de sa vie. La 1ère partie focalise ses premiers écrits et surtout la maladie dans laquelle il ne pouvait penser. Qu’est-ce que l’impossibilité de penser ? Pour lui cette maladie n’est qu’un dysfonctionnement psychologique. Sa maladie consiste à son incapacité de faire correspondre rétrospectivement sa pensée intérieure aux paroles extériorisées. A l’époque le moi artaldien restait minimisé. Il s’agit dans la 2e partie de la théorie du théâtre qu’il développait toute sa vie. Certes sa théorie reste cohérente en ce sens qu’il s’agit toujours de la relation entre le texte et l’acteur. Mais dans les années 30 comme le texte fonctionne comme un double qui hante le moi de l’acteur et lui demande tel ou tel acte, le texte se trouve toujours antérieur à l’acteur. Par contre, dans les années 40, Artaud n’accepte plus l’antériorité du texte par rapport à l’acteur, ce qui rend impossible le théâtre au sens ordinaire du terme. La 3e partie aborde l’hypertrophie du moi artaldien. Or cette centralité du moi artaldien n’est pas un solipsisme car ce n’est que rétrospectivement qu’il peut dire « tout est sorti de moi ». Cette rétrospectivité lui permet de développer sa propre poétique à travers la lecture des Chimères de Nerval où il établit un nouveau sujet littéraire : sujet de lecture qui domine rétrospectivement l’espace poétique. L’hypertrophie du moi n’est point un symptôme de la schizophrénie, mais un support théorique à la poésie contemporaine, comme la poésie sonore ou littéraliste. / The purpose of the present thesis is to redraw Antonin Artaud's theoretical change of the notion of the ego, and to clarify the particular poetics that he established at the end of his life. The 1st part of the thesis focuses his early writings and especially the disease by which he could not think. What is the impossibility to think? For him this disease is only a psychological dysfunction. His disease consists in his incapacity to make, afterward, his internal thought correspond to the exteriorized words. At the time Artaud's ego remained minimized. In 2nd part, it is a matter of the theory of theater that he developed all his life. While his theory remains coherent in the sense that it is always about the relation between the text and the actor. But in the 30s as the text works as a double that haunts the ego of the actor and asked him a particular act, the text is always previous to the actor. On the other hand, in the 40s, Artaud does not accept any more the anteriority of the text with regard to the actor, what makes impossible the theater for the common sense of the term. The 3rd part approaches the hypertrophy of Artaud's ego. But this centrality of the ego is not solipsism because it is only afterward that he can say "everything went out of me". This rétrospectivité allows him to develop his own poetics through the reading of Les Chimères of Nerval where he establishes a new literary subject: subject of reading which dominates afterward the poetic space. This hypertrophy of the ego is not a symptom of the schizophrenia, but a theoretical support in the contemporary poetry, as the sound poetry or literalist poetry.
6

Antonin Artaud épistolier : une pratique paradoxale de l’expression du moi / On letters of Antonin Artaud : a paradoxical practice of self-expression

Kariya, Toshinobu 10 June 2013 (has links)
La correspondance d’Antonin Artaud (1896-1948) occupe une place essentielle dans ses écrits. Elle montre sans doute mieux que ses autres textes la singularité de son expression. Cette thèse examine le rôle joué par sa correspondance, rôle dont on admet l’importance mais encore insuffisamment exploré. À partir de la publication de la Correspondance avec Jacques Rivière (1924), commencée à la suite du refus de Rivière de publier les poèmes d’Artaud, celui-ci publie lettres ou textes épistoliers comme si cela pouvait remplacer ses œuvres dans lesquelles il n’arrive pas à exprimer sa réalité à cause de la maladie dont il souffre : il refuse les œuvres « détachée[s] de la vie » et croit pouvoir mieux s’exprimer dans les lettres. L’expression épistolière est pour lui un moyen de faire entendre le « cri même de la vie » et de lutter contre « un sentiment de gratuité ». Toutefois, il n’est pas évident que, bien qu’elle soit ancrée dans des situations réelles, la correspondance puisse fonctionner comme Artaud le souhaite; il s’avère plutôt qu’elle a pour lui un statut ambigu dans les années 1920 et 1930. Le chapitre 1 aborde ce problème sous deux aspects : l’authenticité et la temporalité. Dans ses lettres, on constate qu’Artaud se plaint très souvent de l’incompréhension de ses destinataires vis-à-vis de sa douleur; ses lettres n’en garantissent pas, pour eux, l’authenticité et l’équivoque y revient sans cesse. Pour lui, l’authenticité doit être prouvée par l’adéquation de l’écriture épistolière avec le présent. Mais sa maladie, ainsi que le fait que les lettres ne sont que des écrits, empêchent la réalisation de cette adéquation. Ses lettres ne parviennent à transcrire que sa hâte et le décalage temporel. Ainsi, loin de témoigner de sa réalité brute, sa correspondance devient tentative de couvrir ce décalage, de trouver la réalité qu’il n’arrive pas à saisir, son vrai moi, originel et intact. Pour cela, Artaud recourt à des éléments imaginaires en exigeant toujours le contact immédiat, d’où le rôle paradoxal de ses lettres. Le chapitre 2 examine le problème de la destination. La présence des autres est nécessaire à Artaud pour penser, pour compléter son manque. Ses destinataires sont ainsi des dépositaires de son moi. Mais ses lettres s’adressent, au-delà des destinataires réels dont la présence n’est qu’imaginaire, à l’instance transcendante, à l’Autre comme le remarque Vincent Kaufmann dans L’Équivoque épistolaire, instance qui lui donne accès à l’expression et lui restitue son identité. Ses destinataires (critiques, autorités religieuses, hommes politique, médecins, etc.), autoritaires et paternels, sont des figures de cet Autre. Par ailleurs, ses destinataires féminines et amoureuses sont pour lui des moitiés qu’il faut s’incorporer pour retrouver l’unité originelle. Ses lettres d’amour sont ainsi marquées par son désir violent de fusion. Pourtant, l’union amoureuse expose en même temps l’unité de son moi à la perte dans le flot de choses. Les lettres sont aussi écrites pour introduire une distance.L’enjeu de ses lettres de voyage, étudiées au chapitre 3, est de réaliser les deux mouvements inverses (rapprochement et éloignement). Les pays lointains constituent pour Artaud l’ailleurs métaphysique où retrouver son unité originelle. Pendant ses voyages au Mexique (1936) et en Irlande (1937), ses lettres sont comme une scène pour l’avènement de sa nouvelle identité, scène où se rencontrent l’au-delà et l’ici-maintenant. C’est ici que son usage paradoxal des lettres atteint son sommet car la réalisation du « vrai drame » signifie, comme il le prophétise, la disparition du monde matériel et donc aussi celle de l’écriture épistolière. Ses lettres mettent en scène leur propre disparition qui coïncide curieusement avec son arrestation à Dublin et le commencement de sa vie asilaire (1937-1946)...... / The correspondence of Antonin Artaud (1896-1948) occupies an essential place in his writings. It shows probably better than his other texts the singularity of his expression. This dissertation examines the role played by his correspondence, the importance of which is admitted, but still insufficiently explored. From the publication of the Correspondence with Jacques Rivière (1924), that started following the refusal of Rivière to publish the poems of Artaud, he publishes letters or texts in epistolary style as if they could replace his works in which he is unable to express his own reality because of his illness : he refuses works "separated from life" and believes he can better express himself in letters. The epistolary expression is for him a way to make the "cry of life" heard and to fight against the "feeling of lack of cause". However, it is not clear that, although anchored in real situations, the correspondence can function as Artaud wants. Rather, in the 1920s and 1930s, its position for him is ambiguous.Chapter 1 approaches this problem in two aspects : the authenticity and the temporality. In his letters, we can see Artaud complain very often of his addressees’ misunderstanding about his pain. His letters do not prove its authenticity, and the ambiguity always goes into them. For him, the authenticity must be proven by the accord of his writings with the present time. But his illness, as well as the fact that the letters consist of words, prevent the realization of this accord. His letters can transcribe only his hustle and time gaps. Thus, far from showing his raw reality, the correspondence becomes an attempt to cover these gaps, to find the reality that he cannot seize, his true self, original and intact. To do this, Artaud uses imaginary elements, still asking for the immediate contact, which makes the role of his letters paradoxical. Chapter 2 examines the problem of destination. The presence of others is necessary for Artaud to think, to complete his lack. His addressees are depositories of his self. But his letters are addressed, beyond actual addressees whose presence is after all imaginary, to the transcendent instance, to the Other as notes Vincent Kaufmann in L’Équivoque épistolaire, instance that allow him access to the expression and restores his identity. His addressees who are authorities and paternal (critics, religious leaders, statesmen, doctors, etc.) are figures of the Other. In addition, the female addressees who are his lovers are his halves that must be incorporated to find again the original unity. His love letters are so marked by his strong desire of fusion. Yet at the same time, the union by love exposes his unity to loss in the flow of things. Letters are also written in order to introduce a distance. The issue of his travel letters, discussed in Chapter 3, is to make simultaneously the two opposite movements (close and away). Distant countries represent for Artaud metaphysical places where he should find his original unity. During his travels in Mexico (1936) and Ireland (1937), his letters are like a stage for the advent of a new identity, stage where meet the beyond and the here-now. It is here that the paradoxical use of letters reaches the peak, because the realization of the "real drama" means, as prophesied he, the disappearance of the material world and therefore that of the letters. His letters direct their own disappearance, which curiously coincides with his arrest in Dublin and the beginning of his life in asylums (1937-1946)....
7

A Montanha dos Signos. Antonin Artaud no México pós-revolucionário dos anos 1930. / The Mountain of Signs: Antonin Artaud in post-revolutionary Mexico of the 1930s

Tânia Gomes Mendonça 21 February 2014 (has links)
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
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Grupo Totem: a infec??o pela performance e a encena??o perform?tica

Nascimento, Frederico do 26 May 2012 (has links)
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
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Entre mondes : voyages, récits et entrelacements de pratiques autour du topeng balinais / Between worlds : journeys, narratives, and interweaving practices surrounding balinese topeng

Coelho de Souza Ladeira, Juliana 16 May 2016 (has links)
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.
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O teatro e seu duplo de Antonin Artaud: uma outra cena do inconsciente / The theater and its double of Antonin Artaud: another scene of the inconscient

Shishido, Cesar Augusto de Oliveira 15 April 2015 (has links)
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.

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