Antonin Artaud

The Theater and Its Double

Antonin Artaud's novelised biography of the 3rd-century Roman Emperor Heliogabalus is simultaneously his most accessible and his most extreme book. Written in 1933, at the time when Artaud was preparing to stage his legendary Theatre of Cruelty, Heliogabalus is a powerful concoction of sexual excess, self-deification and terminal violence. Translated by Alexis Lykiard (acclaimed translator of Lautreamont's Maldoror) and with an introduction by Stephen Barber (author of Artaud: Blows & Bombs; Artaud: The Screaming Body; and Caligula: Divine Carnage).

Or, the Crowned Anarchist

Heliogabalus

"I am the man," wrote Artaud, "who has best charted his inmost self." Antonin Artaud was a great poet who, like Poe, Holderlin, and Nerval, wanted to live in the infinite and asked that the human spirit burn in absolute freedom. To society, he was a madman. Artaud, however, was not insane but in luciferian pursuit of what society keeps hidden. The man who wrote Van Gogh the Man Suicided by Society raged against the insanity of social institutions with insight that proves more prescient with every passing year. Today, as Artaud's vatic thunder still crashes above the "larval confusion" he despised, what is most striking in his writings is an extravagant lucidity. This collection gives us quintessential Artaud on the occult, magic, the theater, mind and body, the cosmos, rebellion, and revolution in its deepest sense.

Artaud Anthology

"Artaud remains one of the significant and influential theorists of modern theatre."—Gerald Rabkin, Rutgers University

Selected Writings

Une poésie où se révèle toute la force d'une révolte ontologique, une révolte absolue affranchie de toutes les croyances, pour s'en tenir aux seules sonorités, aux seuls timbres, aux seules vibrations des choses. Ce texte fut suivi d'une polémique, car dès l'intitulé vengeur, l'oeuvre d'Artaud attaquait de front la forme suprême de l'oppression. Elle parut au lendemain de sa mort, en 1948.

Suivi de le théâtre de la cruauté

Pour en finir avec le jugement de dieu

Dans Van Gogh le suicidé de la société, publié en 1947, Antonin Artaud fait de la violence de Van Gogh la réponse à l'obscénité haineuse du monde et des psychiatres ; de sa folie, une réponse de l'âme à l'imbecillité universelle qui lui souffle "Vous délirez". Alors Van Gogh s'est tué parce qu'il ne pouvait pas tuer le psychiatre, le docteur Gachet. Il s'est tué parce qu'il ne pouvait plus supporter ce "délire" qu'on attachait à ses pas. "Je vois à l'heure où j'écris ces lignes, le visage rouge sanglant du peintre venir à moi, dans une muraille de tournesols éventrés,dans un formidable embrasement d'escarbilles d'hyacinthe opaque et d'herbages de lapis-lazuli. Tout cela, au milieu d'un bombardement comme météorique d'atomes qui se feraient voir grain à grain, preuve que Van Gogh a pensé ses toiles comme un peintre, certes, et uniquement comme un peintre, mais qui serait,par le fait même,un formidable musicien".

Van Gogh le suicidé de la société

A collection of manifestos originally published in 1938, in which the French artist and philosopher attacks conventional assumptions about the drama, and calls for the influx of irrational material - based on dreams, religion, and emotion - in order to make the theater vital for modern audiences.

Artaud & Sound

Celui qui ne verrait dans Le théâtre et son double qu'un traité inspiré montrant comment rénover le théâtre - bien qu'il y ait sans nul doute contribué -, celui-là se méprendrait étrangement. C'est qu'Antonin Artaud, quand il nous parle du théâtre, nous parle surtout de la vie, nous amène à réviser nos conceptions figées de l'existence, à retrouver une culture sans limitation. Le théâtre et son double est une œuvre magique comme le théâtre dont elle rêve, vibrante comme le corps du véritable acteur, haletante comme la vie même dans un jaillissement toujours recommencé de poésie.

Le théâtre et son double / Le théâtre de Séraphin

The Theatre and Its Double (Calderbook)

The Peyote Dance

Héliogabale, ou, L'anarchiste couronné

Claude Schumacher

Brian Singleton

One of the great daring mapmakers. --Susan Sontag

Artaud on Theatre

Or, the Crowned Anarchist (Creation Modern Classics)

A poet, philosopher, essayist, playwright, actor, and director, Antonin Artaud was a visionary writer and a major influence within and beyond the French avant-garde. A key text for understanding his thought and his appeal, 50 Drawings to Murder Magic is rooted in the nine years Artaud spent in mental asylums, struggling with schizophrenia and the demonic, persecutory visions it unleashed. Set down in a dozen exercise books written between 1946 and 1948, these pieces trace Artaud's struggle to escape a personal hell that extends far beyond the walls of asylums and the dark magicians he believed ran them. The first eleven notebooks are filled with fragments of writing and extraordinary sketches: totemic figures, pierced bodies, and enigmatic machines, some revealing the marks of a trembling hand, others carefully built up from firm, forceful pencil strokes. The twelfth notebook, completed two months before Artaud's death in 1948, changes course: it's an extraordinary text on the loss of magic to the demonic--the piece that gives the book its title. "Artaud matters," wrote John Simon in the Saturday Review years ago. Nearly seventy years after his death, that remains true--perhaps more than ever.

50 Drawings to Murder Magic

Tanri Yargisinin Isini Bitirmek Icin

Heliogabalus Or, the Crowned Anarchist

Os Sentimentos Atrasam

Narcotica

Coleção Marginália: as bordas do universo literário 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.

Antonin Artaud

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