This study aims to investigate and directorially apply Antonin Artaud's concept of The Absolute in order to destabilise the victim/perpetrator binary between the characters Beth and Jake in Sam Shepard's play text, A lie of the mind (1986). Previous theoretical analyses of Beth and Jake in A lie of the mind frame them as victims of their circumstances and as victims and perpetrators of violence (Bottoms 1998:16). I will explore the violent relationship between them in the context of the victim/perpetrator binary set up in the original play and re-imagine this binary by creating a radical reinterpretation of the relationship between the characters in a theatre production titled ? (2015). I argue that a directorial treatment of The Absolute assists in destabilising the victim/perpetrator binary present in Beth and Jake's relationship. To reinterpret Beth and Jake's relationship, I explore René Girard's notions of violence, victimisation, and scapegoating, as well as the Artaudian notions of Cruelty, The Absolute, and the Theatre of Cruelty. I apply the Girardian concepts and vocabulary to a reading of the relationship between Beth and Jake. I also discuss the ways in which Artaud and Girard conceptually relate to one another. I then provide a practical exploration within the framework of the Theatre of Cruelty by creating an original production, ? (2015), in which The Absolute facilitates the destabilisation of the victim/perpetrator binary that exists between Beth and Jake. In ? (2015), the relationship between Beth and Jake is reconceptualised and reinterpreted through taking cognisance of the Artaudian-Girardian framework. This dissertation concludes that Artaud's Theatre of Cruelty and the notion of The Absolute are able to destabilise the victim/perpetrator binary between Beth and Jake by replacing sexual desire in their relationship with transcendental love, and reconstructing and reimagining their relationship accordingly. / Dissertation (MA)--University of Pretoria, 2016. / Drama / MA / Unrestricted

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The presented diploma work brings the theory of noise music with the main reason to clarify the pragmatics of its forming and effects. The base of the theory in construct ob the ideas of Antonin Artaud, their reflections and externalizations in the post-structuralist philosophical discourse and intermedial fine arts. Because of the topic, work also observes trends in artictic comunication trough the noise. The aim of work is to formulates the own theory of noise music trough the postulation of cruelty in the artistic speech with emphasis on the explanation of transgresive experience during the noise music performance. The results of the work contributes to the theory of appropriation trough the description of specific medium transmission in the immanent space.

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莎拉肯恩《4.48精神異常》以破曉時分為題，描寫一名憂鬱成疾的女性於凌晨甦醒並決定以自殺終結生命的關鍵時刻。劇中呈現精神病患者承受心理治療之苦與面對社會正常化(social normalization)的暴力過程。肯恩早期的劇作強調具體暴力之呈現，有別於此，本劇大量使用影像，並以不連續的片段，文本化(textualize)社會的暴力壓迫。根據亞陶的殘酷劇場(Theatre of Cruelty)，片段式語言搭配影像的使用，能有效幫助個體表達難以言喻之想法與被壓抑之情感。本論文旨在借用亞氏語言觀探討肯恩《4.48精神異常》中詩意語言的使用。肯恩以片段式結構(fragmentary structure)取代角色與情節，傳達精神病患者不見容於社會的破碎思緒，並在病患的語言中採用拼貼式影像(collaged images)，企圖以視覺意象呈現其殘破不堪的心理狀態。本論文分成四章，分析《4.48精神異常》中的語言，將其視為肯恩對社會正常化所展現最終極抗議。首章說明肯恩生平、本劇簡介與評論及本論文理論架構。次章分析本劇的片段式結構，研究肯恩如何使用片段式的詩意文字描繪病人的孤立無援與自相矛盾等心理不適現象。第三章檢視本劇中視覺化(visual)與文字化(textual)的影像，其主要功能為幫助病人表述自我內心痛苦與對社會的控訴。論文末章總結指出亞氏觀點能幫助讀者解讀肯恩暴力劇場中的詩意語言。 / Titled with a crucial moment when a depressed woman awakes before dawn and decides to commit suicide, Sarah Kane’s 4.48 Psychosis presents the violent process of a psychotic patient suffering from psychiatric therapy and social normalization. Unlike Kane’s early plays that emphasize the presentation of physical violence, this play is characterized by an excessive use of images and is composed of discontinuous fragments that textualize the violent oppression from society. From Artaud’s theory of Theatre of Cruelty, the use of fragmentary language with images helps to convey one’s inexplicable thoughts and suppressed emotions. Artaud’s view on language sheds new light on the interpretation of Kane’s poetic language in 4.48 Psychosis. Without an explicit indication of characters and plot, Kane uses a fragmentary structure to narrate the patient’s broken thoughts, which are not allowed to be voiced in a normal society. Deprived of the ability of voicing, the psychotic patient strives to communicate with others by incorporating collaged images in her language to visualize the devastated state of her psychological mind. Consisting of four chapters, this thesis examines the language of 4.48 Psychosis and interprets this play as Kane’s ultimate form of protest against the violence of social normalization. Chapter One is an introduction to Kane’s life, the play, the critical opinions, and the theoretical framework. Chapter Two analyzes the fragmentary structure of this play and studies how Kane uses poetic fragments to illustrate the patient’s alienation, psychological discomfort, and self-contradiction. Chapter Three examines the visual and textual images of this play. Both kinds of images assist the patient in her narration of psychological pain and her accusation against society. Chapter Four is the conclusion of the thesis that sums up the Artaudian approach of interpreting Kane’s poetic language in her theatre of violence.

Au sein de la pensée de Deleuze, la poésie d'Antonin Artaud apparaît comme la ligne de fuite par excellence à partir de laquelle tout le foisonnement conceptuel deleuzien s'articule. Artaud est en effet celui qui brise l'image de la pensée – ou ce que nous voulons dire habituellement par " penser " en philosophie – en refusant son innéité et son universalité, c'est-à-dire la cogitatio natura universalis. Car pour Artaud comme pour Deleuze, le plus souvent, la pensée s'affronte à son problème véritable, qui est son impouvoir ou son impossibilité. Ainsi, la première partie de la thèse s'attaque à la compréhension de la destitution de l'image de la pensée dans Différence et répétition de Deleuze, à partir de l'idée de " génital inné " d'Artaud dans la Correspondance avec Jacques Rivière. Si l'image de la pensée ne dit rien du processus de penser, de quelle logique sommes-nous capables ? Au travers de la découverte de la logique paradoxale déployée dans les paradoxes de Logique du sens de Deleuze, il s'agira de penser le rapprochement entre Artaud et Nietzsche. L'axe principal de cette partie est la critique du jugement menée par Artaud. Enfin, jeté dans les paradoxes de la vie, la troisième partie envisage le grand impensé de la philosophie qu'est le corps : en effet, de quel corps sommes-nous capables ? L'enjeu, de l'impossibilité de penser à la question du corps - rapprochant L'Ethique de Spinoza du corps sans organes d'Artaud - est bien de renouer la pensée avec la vie, selon le projet du Gai savoir de Nietzsche et qu'Artaud ne cesse de reformuler dès ses premiers écrits. L'impossibilité de penser dit non seulement la séparation d'avec la vie, mais aussi l'impensable qu'est le corps : en effet, que dire de notre propre corps, tel que nous le vivons ? Dans quelle mesure la création de concepts en rhizome dans Mille Plateaux de Deleuze et Guattari explore-t-elle le corps sans organes d'Artaud, ce corps vécu qui reste encore mystérieux pour la pensée ? Artaud souhaitait qu'on l'aime non pas pour son œuvre mais pour sa vie, témoignant d'une grande santé contre un monde malade : l'horizon de l'impossibilité de penser est alors la pensée blessée et profonde assumant la vie elle-même dans toute son opacité. / In the thought of Deleuze, the poetry of Antonin Artaud seems like the line of convergence par excellence from which all the Deleuzian proliferation of concepts are developed. Indeed, Artaud is the person who shatters the image of thought – or what we usually mean by " thinking " in philosophy – rejecting its innateness and universality, in other words, the cogitatio natura universalis. Because, for both Artaud and Deleuze, thought is most often confronted by its real problem – its powerlessness or its impossibility. So the first part of the thesis deals with understanding the dismissal of the image of thought in Deleuze's Difference and Repetition, from Artaud's notion of " génital inné " [innate sexuality] in the Correspondence with Jacques Rivière. If the image of thought says nothing about the process of thinking, of what logic are we capable ? Through the discovery of the paradoxical logic deployed in the paradoxes in Deleuze's Logic of Sense, it is a matter of thinking about the connection between Artaud and Nietzsche. The main thrust of this section is a critique of the judgement made by Artaud. Lastly, thrown into the paradoxes of life, the third part considers the great non thought of philosophy, that is the body : indeed, of what body are we capable ? The challenge, the impossibility of thinking about the question of the body - comparing Spinoza's Ethics and Artaud's body without organs - is to reconnect thought with life, in accordance with the intention of Neitzsche's Gai saber [The Gay Science] and that Artaud did not cease to revise from his earliest writings. The impossibility of thought implies not only a separation from life, but also the unthinkable that is the body: indeed, does this mean talk of our own body as we experience it ? To what extent does the creation of a rhizome of concepts in A Thousand Plateaux by Deleuze and Guattari explore Artaud's body without organs, the body experienced that still remains mysterious for thought ? Artaud hoped that he would be loved not for his work, but for his life, testifying to a great health against a sick world: the prospect of the impossibility of thinking is then thought wounded and profound, taking on a life of its own in all its opacity.