By Ros Murray
Antonin Artaud is likely one of the such a lot not easy and provocative figures in twentieth-century France. highly influential on serious theorists from the post-war interval as much as the current day, Artaud's paintings remains to be mentioned in theatre reports, severe conception, avant-garde artwork, functionality perform and picture reviews. Taking a comparative and interdisciplinary strategy, analyzing his paintings along Daniel Paul Schreber, Georges Bataille, Lewis Carroll, Germaine Dulac and Carl Theodor Dreyer, Antonin Artaud: The Scum of the Soul delves into the guts of Artaud's artistic undertaking, situating this on the point of the fabric item: the paper on which he wrote, the gap of functionality, the film-strip and the tape recording. This illuminating publication could be of significant importance to readers drawn to corporeal rebellion and the facility of gesture, laying off new mild on proven theories of media and function and contemplating the unexplored complexities of Artaud's paintings because it engages with topic.
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Additional info for Antonin Artaud: The Scum of the Soul (Palegrave Studies in Modern European Literature)
To return to the distinction between Artaud and Schreber, it is not, as Morfee’s interpretation suggests, that Schreber’s texts fall into the 26 Antonin Artaud category of ‘psychotic’ writing because they are dismissible as the texts of a madman, whilst Artaud’s texts are redeemable because they have poetic value. It is rather that Artaud’s texts resist a purely psychoanalytic reading more readily than Schreber’s precisely because they embrace ‘madness’ whilst putting it into question, whereas Schreber’s memoirs, by categorically refusing the notion of madness and insisting on their scientific value, seem to invite a psychoanalytic reading.
This book seeks to approach Artaud’s work through a critique of representation and explore how it puts into question its own function both within and outside representative limits. Artaud’s ‘signs’ put into play a type of mimesis that disturbs the normative function of representation by testing the limits of the signifier, and those of the subject as prescriptive, or whole, relating to a fully-functioning body. His misguided attempt to create a universal textual language of course fails, but with this failure comes an inevitable and absolutely necessary failure of the normative or prescriptive function of representation.
Representation, if it is derived from mimesis, thus depends not on truth or logic (whether or not something really happened, or how it happened), but on the creation of a space in which corporeal experience can be reproduced (where it takes place). Artaud’s work offers valuable insights into this because it continually puts the notion of truth into question, but only to undermine any distinction that the reader might perceive between what is true and what is not. His accounts of his own experiences, particularly his accounts of his trips to Ireland and Mexico, for example, are completely implausible.
Antonin Artaud: The Scum of the Soul (Palegrave Studies in Modern European Literature) by Ros Murray