By John C. Stout
so much readers understand Antonin Artaud as a theorist of the theatre and as a playwright, director and actor manqué. Now, John C. Stout’s hugely unique examine installs Artaud as a author and theorist of biography.
In Alternate Genealogies Stout analyzes separate yet interrelated preoccupations imperative to Artaud’s paintings: the self-portrait and the relations romance. He indicates how Artaud, in different very important yet rather missed texts, rewrites the existence tales of old and literary figures with whom he identifies (for instance, Paolo Ucello, Abelard, Van Gogh and Shelley’s Francesco Cenci) in an try and reinvent himself in the course of the snapshot, or lifestyles, of one other. in the course of the ebook Stout focusses on Artaud’s struggles to get better the experience of self that eludes him and to grasp the reproductive procedure via recreating the kin in — and as — his personal fantasies of it. With this examine John C. Stout has extra significantly to our knowing of Artaud.
His ebook could be a lot preferred by way of theatre students, Artaud experts, Freudians, Lacanians and either theorists and practitioners of existence writing.
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Additional info for Antonin Artaud’s Alternate Genealogies: Self-Portraits and Family Romances
Vasari narrates Uccello's life, whereas Schwob selects only a few details from Vasari's sketch for his own, shorter version. Artaud, in turn, concentrates on one moment of Uccello's life that is meant to exemplify the life's whole meaning. From Vasari's factual sketch of Uccello's career as a painter to Artaud's modernist portrait of the same painter, the focus of the writing narrows; the life becomes fantastical and its articulation disordered, discontinuous. Before analyzing Schwob's and Artaud's expressions of Uccello's life in detail, the reader should consult Vasari's version of the life in order to pinpoint the incidents and personality traits that the later adaptations highlight or distort.
35 polyvalent sign. 16 Yet the doubling of Uccello by a bird (uccello) generated by the lust of his rival Brunelleschi for Selvaggia (or, in other words, sperm generated by parental coitus, the spectacle behind the play being performed in "Paul les Oiseaux") denies the ability of Uccello to fly by himself. Uccello, whom the metaphoric sperm doubles, becomes the creation of the very earthbound, carnal being that he had sought to escape. In this submission of Uccello to Brunelleschi's creative will, "Paul les Oiseaux" encodes the failure of sublimation and makes "la place de I'amour" the dominant term in the binary pair named in the text's title.
Artaud's own abortive struggle to unify mind and body can be taken as the referent of the personal crises of his fictional Uccello and Abelard. At the same time, his writing of texts about these two exemplary hero-victims allows Artaud a sense of controlling the problem of the disordering effects of body on mind. The "control" he exercises as narrator in these texts is made possible by a theatrical structure of subjectivity that allows him to occupy simultaneously the positions of detached and ironic narrator, of passive spectator, and of lead actor.