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A perda de si
Depois de A aventura do estilo – Ensaios e Correspondências de Henry James e Robert Louis Stevenson, o segundo livro da coleção Marginália, dedicada a textos pouco conhecidos de grandes escritores modernos, apresenta pela primeira vez ao leitor brasileiro uma seleção abrangente das cartas do francês Antonin Artaud (1896-1948), um dos mais influentes artistas e pensadores do século XX, escritas em diferentes momentos de sua vida a amigos como Anaïs Nin, André Breton, Jacques Rivière e outros. Organizado pela professora da PUC-Rio Ana Kiffer, A perda de si revela, por meio dessa correspondência rica em reflexões sobre teatro, literatura, marxismo e psicanálise, entre outros temas, a gênese e as transformações do pensamento de Artaud, um dos grandes renovadores da dramaturgia do século XX, que influenciou não só nomes ligados ao teatro, como Peter Brook e José Celso Martinez Corrêa, mas também escritores do movimento beat e intelectuais como Gilles Deleuze e Jacques Derrida.
176 pages, Paperback
Published January 1, 2017
About the author
Antonin Artaud
285 books820 followersFrench surrealist poet and playwright Antonin Artaud advocated a deliberately shocking and confrontational style of drama that he called "theater of cruelty."
People better knew Antoine Marie Joseph Artaud, an essayist, actor, and director.
Considered among the most influential figures in the evolution of modern theory, Antonin Artaud associated with artists and experimental groups in Paris during the 1920s.
Political differences then resulted in him breaking and founding the theatre Alfred Jarry with Roger Vitrac and Robert Aron. Together, they expected to create a forum for works to change radically. Artaud especially expressed disdain for west of the day, panned the ordered plot and scripted language that his contemporaries typically employed to convey ideas, and recorded his ideas in such works as Le Theatre de la cruaute and The Theatre and Its Double .
Artaud thought to represent reality and to affect the much possible audience and therefore used a mixture of strange and disturbing forms of lighting, sound, and other performance elements.
Artaud wanted that the "spectacle" that "engulfed and physically affected" this audience, put in the middle. He referred to this layout like a "vortex," a "trapped and powerless" constantly shifting shape.
People better knew Antoine Marie Joseph Artaud, an essayist, actor, and director.
Considered among the most influential figures in the evolution of modern theory, Antonin Artaud associated with artists and experimental groups in Paris during the 1920s.
Political differences then resulted in him breaking and founding the theatre Alfred Jarry with Roger Vitrac and Robert Aron. Together, they expected to create a forum for works to change radically. Artaud especially expressed disdain for west of the day, panned the ordered plot and scripted language that his contemporaries typically employed to convey ideas, and recorded his ideas in such works as Le Theatre de la cruaute and The Theatre and Its Double .
Artaud thought to represent reality and to affect the much possible audience and therefore used a mixture of strange and disturbing forms of lighting, sound, and other performance elements.
Artaud wanted that the "spectacle" that "engulfed and physically affected" this audience, put in the middle. He referred to this layout like a "vortex," a "trapped and powerless" constantly shifting shape.
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