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Prendre sur soi : Cruauté et charité dans l’écriture d’Antonin Artaud et de Simone Weil

, 2020
RÉSUMÉ Bien que contemporains, la distance qui sépare l’oeuvre de l’artiste surréaliste Antonin Artaud de la philosophe Simone Weil peut se mesurer à l’aune de deux concepts antonymes que sont la cruauté et la charité.
Yves Schulze
semanticscholar   +1 more source

A Palavra em Artaud ou a Carne que se faz Verbo

Ephemera: Revista do Programa de Pós-Graduação em Artes Cênicas da Universidade Federal de Ouro Preto, 2020
O objetivo deste artigo é discutir o lugar ou os lugares da palavra na obra de Antonin Artaud, tanto no teatro onde propõe novas maneiras de usá-la, desde a sonoridade até os espaços do silêncio, quanto na literatura que, de alguma forma quebra as ...
Wilson Coelho
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Namelessness from Artaud to Beckett

Samuel Beckett Today/Aujourd'hui, 2019
After a period of electroshock therapy, Antonin Artaud claimed to have been able to regain his name and sense of self. The dehiscence of name and identification is reprised in Artaud’s final work, the radio play Pour en finir avec le jugement de Dieu ...
S. Slote
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Culture and Cruelty in Nietzsche, Dostoevsky, and Artaud

, 2019
Questioning the Enlightenment in Nietzsche, Dostoyevsky, and Artaud challenges the cultural optimism of the Enlighten through an examination of Nietzsche, Dostoevsky, and Artaud.
M. Statkiewicz
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Artaud's Scream

Deleuze Studies, 2016
In the later Artaud's perception of existence as perpetual cosmological combat, one of his principal weapons is the scream. His deployment of this scream matures in the 1946–8 radio recordings, especially in To Have Done with the Judgement of God, which he saw as a successful ‘mini-model’ of the Theatre of Cruelty.
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A Zoology of Language: On the Disorder of Language and Artaud’s Poetics

Antonin Artaud and the Healing Practices of Language, 2021

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Artaud's Key Writings

Antonin Artaud, 2021
Blake Morris
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