🎭 De la rue Mouffetard à la Cartoucherie, une filiation théâtrale ressurgit autour d’Artaud, du Théâtre de l’Épée de Bois et d’une mémoire de troupe qui traverse les décennies.
🔗 https://actualitte.com/article/129710/enquetes/de-la-mouffe-a-la-cartoucherie-l-histoire-d-un-theatre-radical

Un récit où se croisent rêve, scène, transmission et histoire vivante d’un théâtre radical.

#Théâtre #Artaud #Cartoucherie #Paris #Culture

Une planche publiée dans Le numéro 3 de Fragments Fanzine Le numéro de l'été est tjrs dispo suivez le lien : https://fragments-fanzine.fr/le-numero-4-parfait-pour-lete/

#fanzine #comics #comix #bandedessinee #bd #indiegraphics #artaud #antoninartaud

Qui était l'anti-muse d'Antonin Artaud ? https://actualitte.com/a/QCurPhw8

#Artaud #Interview #Littérature

Et si Artaud avait raison ? 🩸
« Pour en finir avec le jugement de Dieu » est un uppercut contre l'ordre moral.

👉 À lire ici : https://lesheureslesplussombres.com/pour-en-finir-avec-le-jugement-de-dieu/

#Artaud #Corps #Révolte #Théâtre #surrealisme

Before I forget, tomorrow is the release day for my new album! It's also #BandcampFriday! Please have a listen. We made a really lovely CD edition.

"An improvising trio since 2023, Wilson Shook, Kevin Corcoran, and Aine Nakamura create a atmosphere of heightened concentration, restraint, and purposeful recontextualization of sounds, affects, and relationships with each other and with a particular moment in the world. There is an oblique lyricism, and a non-programmatic #ritual intensity to the work, which evokes #Butoh, #DeepListening, #Artaud's Theater of Cruelty, and a sort of #animist #ecomusicology. Procession, while an ultimately incomplete document of a practice that is multi-sensory, experiential, and site-specific, nevertheless presents a compelling point of entry into the trio's artistic world."

#ImprovisedMusic #ExperimentalMusic @experimentalmusic

Procession | Wilson Shook, Kevin Corcoran, Aine Nakamura | Other Ghosts

https://otherghosts.bandcamp.com/album/procession

Imagination, to Artaud, was reality; he considered dreams, thoughts and delusions as no less real than the "outside" world. To him, reality appeared to be a consensus, the same consensus the audience accepts when they enter a theatre to see a play and, for a time, pretend that what they are seeing is real.

Artaud saw suffering as essential to existence and thus rejected all utopias as inevitable dystopia. He denounced the degradation of civilization, yearned for cosmic purification, and called for an ecstatic loss of the self. Hence Jane Goodall considers Artaud to be a modern Gnostic while Ulli Seegers stresses the Hermetic elements in his works.

"Artaud sought to remove aesthetic distance, bringing the audience into direct contact with the dangers of life. By turning theatre into a place where the spectator is exposed rather than protected, Artaud was committing an act of cruelty upon them." – Lee Jamieson, Antonin Artaud: From Theory to Practice, Greenwich Exchange, 2007, p.23

Artaud was the surgeon of the real.

The Seashell and the Clergyman (French: La Coquille et le clergyman) is considered by many to be the first surrealist film. It was directed by Germaine Dulac, from an original scenario by Antonin Artaud, and premiered in Paris on 9 February 1928. The film follows the erotic hallucinations of a priest lusting after the wife of a general.

#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema

https://soulvlog.blogspot.com/2011/07/la-coquille-et-le-clergyman-1926.html

Anyone who knows the writings of Antonin Artaud knows he spent time with the Raramuri people of Sierra Madre;also called Tarahumara by outsiders. This video is about the Tarahumara as runners. If you are unfamiliar with Artaud, here is an online text, The Secret Art of Antonin Artaud (PDF 109 pages accessable from the link below)by Jacques Derrida and Paule Thvenin, which may help.

The first work of the Theatre of Cruelty Artaud initially intended for the stage was entitled The Conquest of Mexico, a work based on the Aztec religion and other primitive cultures of the Americas. Partly to escape his numerous failures in Paris, Artaud left for Mexico in 1936 to do research for this play and live in a land where he believed "a new idea of man [was] being born." Unfortunately, Artaud encountered a culture heavily influenced by the same European ideas he was fleeing. The playwright encountered Communist inspired political unrest and an intellectual coeterie of writers and artists, such as Diego Rivera, David Siqueiros, and JosÎ Clemente, who were adapting modern European styles to depict their own culture. Since Artaud was trying to escape these European styles and ideas, he found himself alienated from the Mexican artists and intellectuals and, unable to speak Spanish, soon felt isolated in a land that he hoped would provide some form of salvation for him. Perhaps as a consequence, he spent much of his time in Mexico City searching for drugs. He did befriend LuÏs Cardoza y Aragon, a surrealist poet Artaud had initially met in Paris. Aragon helped Artaud financially by arranging lectures and translating articles for the Frenchman.

Strangely, Artaud had no interest in the Aztec ruins nearby, which had become tourist sites by this point. Artaud yearned to witness authentic culture untouched by Western influence. Accordingly, Artaud arranged to visit the Tarahumaras, an isolated tribe in the Sierra Madre of Northern Mexico who made use of peyote in their religious rites. During this arduous journey, Artaud experienced a painful bout of drug withdrawal. Once there, however, Artaud participated in one of the peyote rituals. What else happened during this visit, we have only authorís own reports. Many of these reports were written or revised several years after original visit and were shaped to conform to Artaudís belief system at the time, so their veracity is questionable. These pieces were published posthumously as the A Voyage to the Land of the Tarahumara. In this work, Artaud describes a world full of syncretic symbols - crosses, faces in stone - a perfect blending of primitive symbolism and nature, which, for Artaud, typified the lost pre-Renaissance understanding of the world. He also described the peyote ceremony, during which he experienced the ìswirling energies of the earth below. (From Little Blue Light)

There are currently about 50,000 Tarahumara living in the Sierra Madre Occidental in northwestern Mexico. They live in small isolated clusters with most the population concentrated in the Barranca del Cobre, or the Copper Canyon. The Tarahumara indians are part of the Uto-Aztecan indian lineage and are closely related to the Apaches of the Southwestern United States. The area of Northwest Mexico that the Tarahumara lives in is very rugged and unforgiving. The Barranca del Cobre is a chain of five very deep canyons surrounded by very tall mountains that reach almost a mile and a half above sea level. Three of the five canyons are deeper than the Grand Canyon of the United States. The area is different though because it receives much more rainfall and is covered with more vegetation. The terrain is very rugged, so much as to lead to the fact that the area has never been thoroughly mapped or explored (Lutz 66). The area is one of th e coldest in Mexico and soil conditions are very poor. It is because of this that the Tarahumara are semi-nomadic and are cave dwellers for part of the year. (From Running Feet by Art Beauregard)

#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema #Psychedelics #Indigenous

https://soulvlog.blogspot.com/2008/12/journey-to-tarahumara.html

Antonin Artaud’s The Theater and the Plague is an international cinematic reading of the essay "The theater and the plague“ by the French poet Antonin Artaud (1896-1948) in the face of the coronavirus pandemic. Directed by Wolfgang Pannek, co-director of Taanteatro Companhia (São Paulo, Brazil), the project is a collaboration of artists and academics from five continents and engaged in multiperspectivist reflection on the critical tension between „death and cure“.

In The Theatre and the Plague, the first, now prophetic-iconic text from his best-known book, The Theater and its Double, originally presented as a peformative lecture on April 6, 1933, at the Sorbonne, Artaud develops the foundations of the „Theater of Cruelty“ by establishing an analogy between the rupture of the civilizational order caused by the "plague" and the "convulsive passions" triggered by the virulence of his transgressive theatrical poetics.

The Artaudian text was divided into 8 distinct segments (in turn divided into sub-segments), each with a specific thematic focus. Each collaborating artist accepted the challenge of developing an audio-visual dramaturgy (and recording Artaud's text in their respective language), corresponding to the segment to be addressed. The only creative indication given to the artists was to perform a cinematographic reading of Artaud's text in the light of their subjective experiences conected to their respective geographical locations, and under the conditions of limited circulation and social distancing in pandemic times. This work process, recorded with simple digital cameras, cell phones or IPads, resulted in a set of 18 films, lasting between 4 and 11 minutes each).

In addition, the audio-visual collection of these cinematic narratives was re-edited for the feature film Antonin Artaud's The Theater and the Plague (62 min., 11 languages, English subtitles). The film presents the text of “The Theater and the Pest ”in its entirety and brings together people, landscapes and sensibilities ranging from São Paulo to Paris, from Brisbane to Garðabær, and from Maputo to Khon Kaen.

#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema

https://soulvlog.blogspot.com/2020/08/antonin-artauds-theatre-and-plague.html

"The True Story of Artaud le Mômo", by Gérard Mordillat and Jérôme Prieur, produced in 1993. With English subtitles.

Attendees: Luciane Abiet, Jacqueline Adamov, André Berne-Joffroy, Annie Besnard-Faure, Gustav Bolin, Denise Colomb , Pierre Courtens, Alain Gheerbrant, Alfred Kern, Gervais Marchal, Domnine Milliex, Minouche Pastier, Henri Pichette, Marcel Piffret, Rolande Prevel, Marthe Robert, Jany Seiden de Ruy, Paule Thévenin and Henri Thomas.

Note: Poet, man of the theatre, actor, Antonin Artaud (1896-1948) is the author of an immense body of work among which is The Theater and its Double, The Voyage to the land of the Tarahumaras, Van Gogh the suicide of society, Artaud the Mômo... On May 26, 1946, after nine years of internment in various asylums and finally at the Rodez hospice, Antonin Artaud returned to Paris, welcomed at the Gare d' Austerlitz by his friends Henri and Colette Thomas, Jean Dubuffet and Marthe Robert... Arthur Adamov and Marthe Robert having guaranteed his material life, he will now live at the Maison de Santé in Ivry, under the authority of Dr. Delmas who will provide him with a pavilion and will leave him completely free of his time and his movements. We want to revisit the friends of Antonin Artaud, his loves, his companions the path he took, to find in their memory the places he frequented, to redo his journey between the clinic of Ivry and Saint-Germain-des- Prés, in the Paris of the immediate post-war period. That is to say that we want to find the voice of Artaud, his face, his presence, in the voice, the face, the presence of those who accompanied him, and whose life he changed: Paule Thévenin, Henri Thomas, Marthe Robert, Anie Besnard, Jany de Ruy, Rolande Prevel, Henri Pichette...

#Artaud #Surrealism #Theater #Pyschology #Magick #Occult #Philosophy #Cinema

https://soulvlog.blogspot.com/2023/03/the-true-story-of-artaud-le-momo-1993.html