АРТО-МОМО и другие произведения

by Antonin Artaud, Антонен Арто

Сборник авангардистских текстов великого безумца в переводе Михаила Хрусталёва.

Genres: Poetry

Paperback

First published January 1, 1947

About the author

French 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.

Reviews

[Lu Di Giovanni · Rating 5 out of 5]

Solo puedo decir de este libro que es una genialidad, y que la humanidad jamás mereció ni merecerá a Artaud. Impresionante la crudeza y la nitidez con la que a través de su vida y sus palabras vemos nuestra propia miseria. Lean este y todos sus libros.

[Alana · Rating 5 out of 5]

ar-one ar-taud! it’s giving centre-mother, it’s giving boss-pussy, it’s giving electroshock syphilitic verdigris of all the shades and shading, it’s giving big Momus the Greek god of mockery and raillery big Mommy energy. artaud didn’t even have teeth at the time when he served this major kunt. now you could would say of course teeth are a crucial non-component to serving kunt AND although i am of the assumption most would prefer not to be ungently reminded of the teeth that lurk in the depths of every blow job i’m sure he had a charming set of dentures with BITE. if it has two lips (or is it four?) it may as well be a cunt.

regardless of any of the above’s usless posturing i cannot believe he did what foucault set out to do the whole of madness and civilisation in 5 pages of le mômo. c’est iconique c’est kunty c’est that-girl it-girl black magic

That point when it was necessary to choose between renouncing being a man and becoming an obvious madman.

But what guarantee do the obvious madmen of this world have of being nursed by the authentically living?

farfadi
ta azor
tau ela
auela
a
tara
ila

[Stijn · Rating 4 out of 5]

Opaak werk.
'I've seen only those who have been terrorized by the method, incapable of recovering their egos,' schrijft Artaud over elektroconvulsietherapie. Artaud the Mômo gaat voor mij daarover, het vastlijmen van de scherven van het ego. Het is verwonderlijk dat Artaud zo precies balanseert; dat het fascinerend blijft terwijl we alleen maar achter die geur van betekenis aansjokken. Dat, terwijl alles doorspekt is met obscene, vulgaire taal. Artaud volbrengt Bataille waar hij dat zelf niet kon doen.

Mijn lof gaat uit naar deze vertaling, die nadruk legt op Artaud zelf, hem serieus neemt, zonder hem pathologisch te kannibaliseren zoals dat ook nu nog veel gebeurt.

[Sam Hicks · Rating 3 out of 5]

The potty-mouthed babble (sorry, 'unprecedented anatomical excavations') of the first part left me cold, but the final sequence, inspired by his treatment in psychiatric institutions, had power.

[Dante Mendoza · Rating 5 out of 5]

en contra del espíritu

[Ametista · Rating 5 out of 5]

Letto su una panchina a Modena prima di una partenza.