Le Théâtre des Orgies et des Mystères d’Hermann Nitsch s’inscrit dans le contexte douloureux de l’Autriche post fasciste. En effet, alors que cette dernière affiche dès l’annexion de 1938 un collaborationnisme « joyeux », elle s’est, au lendemain de la guerre, victimisée en déniant sa responsabilité et sa participation active aux crimes nazis préférant l’imputer entièrement à son voisin germanique.Aussi, c’est dans cette atmosphère nauséabonde et face au silence de la majorité des intellectuels de l’époque, ou’Hermann Nitsch va mettre en place son Theater à travers un langage plastique d’une grande radicalité.Cependant, contrairement à ce que l’on pourrait penser, il ne s’agit pas d’un art politique. En effet, passé le premier choc visuel, le Theater est avant tout philosophique et anthropologique.L’homme moderne désacralisé ne serait plus selon l’artiste en harmonie avec ce qui le constitue dans son essence. Les sociétés postmodernes, jugées par Nitsch comme aliénantes, seraient à l’origine d’une rupture de sens entre le matériel et le spirituel. L’expérience du Theater propose ainsi à l’individu, par le rituel et la mise en exergue des principes anthropologiques d’invariances de se débarrasser des déterminismes sociétaux afin d’accéder, à une connaissance continue (Bataille).Ainsi, le Théâtre des Orgies et des Mystères est une oeuvre multi référentielle et transhistorique se situant au carrefour entre micro et macrohistoire. L’artiste affirme que « le processus de création et le Theater doivent contribuer à former une unité avec le tout » afin « d’en finir avec la séparation entre immanence et transcendance ». Aussi, chacune des actions proposées par Nitsch consistent en des rituels tantôt de vie tantôt de mort ayant précisément pour objectif de rompre avec l’antagonisme immanence/transcendance. Réactualisant un langage symbolique inné (au sens où l’entend Freud) et des traditions anciennes, le Theater d’Hermann Nitsch tente de démontrer à l’individu moderne que l’univers qui l’entoure, malgré sa diversité, est un tout cohérent relevant d’une continuité survivante auquel il participe. / Hermann Nitsch's Theatre of Orgies and Mysteries (Orgien Mysterien Theater) grew out of the painful context of post-Fascist Austria. Although Austria had welcomed annexation with Germany in 1938 and the Austrians had been eager collaborators with the Nazis from the outset, as soon as the war was over, they portrayed themselves as victims, denying responsibility for or active participation in Nazi crimes, preferring to blame everything on their German neighbours.In this loathsome atmosphere, in which the majority of the intellectuals of the time remained silent, Hermann Nitsch set up his Theater, using a highly radical, visual language.Contrary to what one might suppose, however, it was not political art.And in fact, after the initial visual shock, the Theater was, above all, philosophical and anthropological. Nitsch maintained that modern man, stripped of mythology, was no longer in harmony with his essence. Postmodern societies, which he deemed alienating, were responsible for a semantic breach between the material and the spiritual. The experience of the Theater, through ritual and its emphasis on anthropological principles of invariance, was a way for the individual to rid himself of societal determinism in order to gain access to continuous knowledge (Bataille). Thus, the Theatre of Orgies andMysteries is a multi-referential, transhistoric work situated on the cusp of micro- and macro-history. Nitsch has stated that "the creative process and the Theater must contribute towards forming a unity with the whole" so as to "erase the difference between immanence and transcendence". All of the activities proposed by Nitsch consist in rituals, sometimes of life and sometimes of death, but all with the aim of erasing the immanence/transcendence dichotomy. Hermann Nitsch's Theater adapts inborn symbolic language (in the Freudian sense) and old traditions in an attempt to demonstrate to the modernindividual that the universe that surrounds them, despite its diversity, is a coherent whole, a surviving continuity in which they participate.a

Entre os anos de 1960 e 1978, diversos artistas europeus e norte-americanos recorreram em suas obras a práticas que remontam a antigos rituais de sacrifício religioso. Os documentos fotográficos e videográficos que restaram dessas ações chegam ao século XXI exercendo ainda, no encontro com as audiências do presente, uma notável performatividade que envolve a produção de rumores, sensacionalismos e mal-entendidos, mas também a produção de novas e novas performances do sacrifício. Esta tese propõe como ponto de partida metodológico uma arqueologia (Michel Foucault) da massa documental que envolve um nascimento da \"arte corporal\" na França e nos Estados Unidos entre as décadas de 1960 e 1970, afim de deslocar uma ontologia da performance (Peggy Phelan) que, ainda hoje, especialmente no âmbito dessas poéticas, evoca a noção de \"real\" para o centro das discussões que envolvem a relação entre documento e performance. Nesse sentido, a tese apresenta o conceito de monumento sacrificial: a imagem de um corpo sacrificado ou a imagem de um corpo sacrificante que exerce sobre o corpo histórico da performance art uma repetição, ao evocar esse \"real\" enquanto risco, asco, dor, morte, destruição, ferida que fere - sacrifício. Dividida em duas partes, a tese propõe como hipótese uma passagem, no âmbito de uma história primordial destas poéticas, do corpo sacrificante - corpo sob o signo do excesso - para o corpo sacrificado - corpo sob o signo do martírio -, ocorrida na virada dos anos de 1960 para 1970. O conceito de sacrifício, por sua vez, é aqui desenvolvido, de um lado, a partir dos escritos de Georges Bataille e da estranha posição que o escritor ocupa no curso de uma história das teorias do sacrifício religioso modernas; e de outro, a partir dos monumentos sacrificiais produzidos, na década de 1960, por quatro artistas austríacos associados ao chamado Acionismo de Viena. Acredito que a imaginação sacrificial de Bataille e os monumentos sacrificiais de Rudolf Schwarzkogler, Günter Brus, Hermann Nitsch e Otto Muehl propiciam um olhar crítico sobre as poéticas e as políticas do sacrifício ontem e hoje. / Between the years of 1960 and 1978, several European and American artists have employed in their works practices that go back to ancient rituals of religious sacrifice. The photographic and videographic documents that remain of these actions arrive at the 21st century still exerting, in the meeting with the audiences of the present, a remarkable performativity that involves the production of rumors, sensationalisms and misunderstandings, but also the production of new performances of sacrifice This thesis proposes as a methodological starting point an archeology (Michel Foucault) of the documentary mass that involves the birth of the \"body art\" in France and in the United States between the 1960s and 1970s, in order to displace an ontology of performance (Peggy Phelan) which, even today, especially in the context of these poetics, evokes the notion of \"real\" to the center of the discussions that involves the relationship between document and performance. In this sense, the thesis presents the concept of a sacrificial monument: the image of a sacrificed body or the imagem of a sacrificing body which exerts upon the historical body of performance art a repetition, evoking this \"real\" as risk, disgust, pain, death, destruction, a wound which hurts - sacrifice. Divided into two parts, the thesis proposes as a hypothesis a turn point, within a primordial history of these poetics, from the sacrificing body - body under the sign of excess - to the sacrificed body - body under the sign of martyrdom -, that occurred in the early 1970\'s. The concept of sacrifice, for its turn, is developed here, on the one hand, from the writings of Georges Bataille and the strange position that he occupies in the course of a history of theories of modern religious sacrifice; and on the other hand, the concept is developed from the sacrificial monuments produced in the 1960s by four Austrian artists associated with the so-called Viennese Actionism. I belive that Bataille\'s sacrificial imagination and the sacrificial monuments by Rudolf Schwarzkogler, Günter Brus, Hermann Nitsch and Otto Muehl provide a critical gaze on the poetics and politcs of sacrifice of the past and the present.

[ES] El presente trabajo de doctorado se centra en el artista, accionista, intelectual, compositor, escenógrafo y filósofo austriaco Hermann Nitsch y en su controvertida producción artística de mediados del siglo XX. Esta investigación se ha realizado desde la perspectiva de la conservación y tutela de obras de arte contemporáneas de naturaleza mutable y polimatéricas. La peculiaridad de este tipo de obras y los problemas derivados de su conservación son un tema que se entrelaza con los valores filosóficos intrínsecos a cada pieza. La investigación y el análisis de todos los factores implicados, tanto materiales como inmateriales, son los que hacen especialmente compleja la función del restaurador. Esta tesis propone, en primer lugar, un análisis de la compleja obra de Hermann Nitsch que, a menudo, se desarrolla con dinamismo, asumiendo la connotación de lo que él mismo considera Gesamtkunstwerk, es decir, Obra de Arte Total. A continuación, se analiza el "Museo Archivio Laboratorio per le Arti Contemporanee Hermann Nitsch" de Nápoles, donde se alojan las obras del artista vienés, llevando a cabo una catalogación de las tipologías de obras, de los materiales que las componen y del papel que cada objeto adquiere en las instalaciones artísticas. A partir de este análisis de la conservación de las obras de Nitsch, el objetivo final es articular el concepto general de conservación preventiva, incluyendo la fase de documentación y los criterios de prevención de daños, para garantizar la correcta conservación a largo plazo durante el almacenamiento. / [CA] El present treball de doctorat se centra en l'artista, accionista, intel·lectual, compositor, escenògraf i filòsof austríac Hermann Nitsch i en la seua controvertida producció artística de mitjan segle XX. Aquesta investigació s'ha dut a terme des de la perspectiva de la conservació i tutela d'obres d'art contemporànies de naturalesa mutable i polimaitericas. La peculiaritat d'aquesta mena d'obres i els problemes derivats de la seua conservació són un tema que s'entrellaça amb els valors filosòfics intrínsecs a cada peça. La investigació i l'anàlisi de tots els factors implicats, tant materials com immaterials, són els que fan especialment complexa la funció del restaurador. Aquesta Tesi proposa en primer lloc una anàlisi de les complexes obres d'Hermann Nitsch, que sovint es desenvolupen dinàmicament, adoptant les característiques del que ell denomina Gesamtkunstwerk, o Obra d'Art Total. A continuació s'analitza el "Museo Archivio Laboratorio per le Arti Contemporanee Hermann Nitsch" de Nàpols, on s'allotgen les obres del mestre vienés, duent a terme una catalogació de les tipologies d'obres, dels materials que les componen i del paper que cada objecte adquireix en les instal·lacions artístiques. A partir d'aquesta anàlisi de la conservació de les obres de Nitsch, l'objectiu final és articular el concepte general de conservació preventiva, incloent-hi la fase de documentació i els criteris de prevenció de danys, per a garantir la correcta conservació a llarg termini durant l'emmagatzematge. / [EN] This doctoral Thesis focuses on the Austrian artist, intellectual, composer, philosopher Hermann Nitsch and his controversial artistic production which started in the mid-twentieth century. The research is carried out from the perspective of the conservation of contemporary artworks of unstable and multi-material nature. The peculiarity of this kind of artwork and the problems resulting from their conservation are subjects which relate to the philosophical values intrinsic of each piece. The investigation and analysis of all the involved factors, both material and immaterial, represent a particularly challenging task for the conservator. This Thesis proposes at first an analysis of Hermann Nitsch's complex work, which often develops with dynamics, assuming the connotation of what he calls Gesamtkunstwerk, i.e. Total Work of Art. This is followed by the study of the "Museo Archivio Laboratorio per le Arti Contemporanee Hermann Nitsch" in Naples, where several works of the Viennese artist are collected, characterizing the different typologies of artworks, the used materials as well as the role that each object holds during the art installations. On the basis of these investigations, the final goal is to articulate the general concept of preventive conservation, including the documentation phase and the criteria for damage prevention, in order to ensure proper long-term conservation during storage. / Limatola, L. (2023). La conservación y restauración de las obras de Hermann Nitsch: el Teatro de las Orgías y Misterios como obra de arte total [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/199856