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Опустошитель # №28. Мизология
Новая инквизиция выглядывает из замызганной конуры привратника тысячью зловещих глаз, старых и новых. Антонен Арто, Маруся Климова, Луи Арагон, Серое Фиолетовое, Миша Вербицкий, Филиппо Томазо Маринетти, Жюли Реше и прочие истязатели инакомыслия в 28-м номере "Опустошителя". Мизология августа 2019, или, в дефиниции Имманула Канта, ненависть к разуму, возникающая у многих людей, включая самых искушенных в его применении.
206 pages, Paperback
Published January 1, 2019
About the author
Antonin Artaud
284 books810 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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