Results 91 – of Antonin Artaud – Vom Theater der Grausamkeit zum Theater des Unbehagens ( German Edition) by Anna Bockhoff and a great selection. : Antonin Artaud – Vom „Theater der Grausamkeit“ zum „Theater des Unbehagens“: Exposé (German Edition) eBook: Anna Bockhoff: Kindle Store. Results 1 – 25 of 25 Das Theater der Grausamkeit. Letzte Schriften Artaud, Antonin. Published by München, Matthes & Seitz (). Used. First Edition.

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Showing a colourful range of theatrical presentations complete with their particular aesthetic discourses was a well-established practice in international exhibitions.

Immanuel Kant, Critique of Judgment, trans. The performance conventions of Balinese dance were different than any Artaud had previously experienced, and he was struck by the intense physicality of the dancers. The theatre is a practice, which “wakes us up. But this attitude tends not only to bore the audience and ourselves, if we dare to admit itbut also to artauud at merely reassuring our own position—other than that, it frustrates everyone.

Das Theater der Grausamkeit – Antonin Artaud by Susi Strolchi on Prezi

Neske,p. I will return to this point later on.

Wissenschaftliche Buchgesellschaft,chapt IV. France hosted this exhibition as a lavish state affair: Artaud, however, believed that, while he was forced to limit the scope of his vision due to financial constraints, Les Cenci succeeded in exemplifying the tenets of the Theatre of Cruelty.

The curator inevitably acts as a symptom of an institution, representing what the organization wants from the inside, but is also addressed from the outside as the one who is able to fulfil any kind of wish or demand.

The Theatre of Cruelty French: The absence or muteness — indeed its radical novelty — of this theater has to be vanquished by notoriously accumulating metaphorical and allegorical designations.

General as these questions may seem, they nevertheless underlie all curatorial activity—or at least they ought to.

Artaud [2] Why do people visit museums? The most far-reaching project within Relaunchhowever, was the Avatar.


Antonin Artaudsome 50 years later, is also seen as a main contributor to the genre, notably with The Theatre and its Double. Grausamjeit emphasis, following the italics in the German BFA: Routledge,p. On the other hand, though, if invariably applied, the same rules would obstruct any development or change within that given field.

In his writings on the Theatre of Cruelty, Artaud points to both “theatre” and “cruelty” that are separate from their colloquial meanings. The first light of dawn revealed a smoldering ruin within which sparkled the carbonized remains of gold-laminated idols and masks. However, by installing such a meta-theatrical frame around the sovereignty of the legal situation, the text shows its own measuring.

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The avatar therefore marks the intersection point of curatorial and artistic imagination, expectations, grauzamkeit concerns. Other interventions remained partially invisible to the external viewer, but video and photo documentation was presented online. Die Cenci Antonin Artaud. Log In Sign Up. He envisioned the performance space as an empty room with the audience seated in the center and the actors performing all around them.

Thematic curating is increasingly reduced to the context of biennials, where our left, ecological, feminist, anti-racist, anti-colonial, political, and so on positions are asserted in vague concepts including a safe-guarding reference to a philosopher, some name-dropping of well respected artists, and a grausamksit intuitive arrangement of single works each visibly matching the topic.

Gallimard, ; Engl. By using this site, you agree to the Terms of Use and Privacy Policy. My first immediate fantasy when revisiting the video documentation of my double’s performance in preparation for this text was: This is the ideological context of the Dutch East Indian Pavilion and the presentation of the Balinese theater group that was presented there.

I will track my current fantasies of what I would have done had I been the artist thsater of the Avatar Ellen Bluumenstein, and I will imagine what could have been the maximum consistent outcome of the project from a curatorial perspective. In his lifetime, Artaud only produced one play that put the theories of the Theatre of Cruelty into practice. Similarly, cruelty does not refer to an act of emotional or physical violence.


Artzud University Press, Under the sun of torture, which shines equally on all the continents of this planet, his texts grausammkeit.

Antonin Artaud

Translating this to the very scene of the text, one could point to the historicity and conventionality of language and texts themselves, which mnemotechnically find their words and thoughts in a situation of appropriation and disappropriation.

Artajd more information on the Avatar, check: In the Exposition coloniale internationale in Paris, Artaud had the opportunity of viewing a theater performance of a Balinese group. Expectedly, none of those institutions were open to the experiment, and at this early stage of my employment I could not handle the confrontation either—and did qrtaud dare to.

Essays zu Theatertexten Berlin: Again, this argument resonates both ways: We make the discourse, we define who partakes in it and who rataud not, and we also form careers; many times, our own careers are connected to how well we accommodate the expectations of the system in which we act.

gdausamkeit Matthes und Seitz, At the opening reception, the Avatar over-affirmed my representative duties and glamorously bathed in the masses — joyfully shaking her hair over and over again in front of the people watching her. In other words, violent land conflict in Amazonia, with all its terrible implication for people and environment, can be grasped as a theatrical structure with philosophic and material consequences for mind and body. Thinking in Film co-curated with Franz Rodenkirchen and Daniel Tyradellis,which dealt with cinema’s potential to create emotions and originate new images of the world: The stage effects included overwhelming sounds and bright lights in order to stun the audience’s sensibilities and completely immerse them in the theatrical experience.

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