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Amy Stephens [Coming Home 02] Never Look Back (epub)
Avalon The Return of King Arth Stephen R. Lawhead
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Catherine Law The September Garden (retail) (

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.Both in his writings and performances, he attacked and enlivened the city in which his work was published and witnessed.At the end of his life, Artaud came to an uneasy compromise with Paris, living in the grounds of a convalescence home in the city’s periphery, at Ivry-sur-Seine.Maintaining a cold distance from the literary and social worlds which he believed had enmeshed and rejected him in the 1930s, Artaud was nevertheless positioned for regular denunciatory incursions into the city’s life.Although, in general, Artaud manifested extreme hostility towards his contemporaries, he lived through periods of great artistic productivity and experimentation in Paris: the 1920s with Surrealism, and the period 1946-8 with its many artistic and philosophical movements that emerged in part from the excitement of the liberation from Nazi occupation in 1944.Artaud came into close proximity with many of the greatest artists and writers of the twentieth century: Pablo Picasso, Georges Braque, André Gide, André Breton, Tristan Tzara, Jean Cocteau, Georges Bataille, among others.Occasionally, valuable collaborations resulted from these contacts, not least in the field of interaction between the text and the image.But Artaud could be summarily dismissive of his famous contemporaries.His friend Jacques Prevel reported that Artaud ‘abominated’ Jean-Paul Sartre.[8] And he seems to have taken no notice whatsoever of the work of Jean Genet (active in Paris during Artaud’s last period there, but probably stigmatized in Artaud’s perception through his association with Sartre), nor of Louis-Ferdinand Céline, despite the fact that they shared the same young and adventurous publisher, Robert Denoël, for both of their first large-scale works, Artaud’s 1934 biography of the Roman Emperor Heliogabalus and Céline’s 1932 novel Journey to the End of the Night.Artaud receptively experienced wild and strange times in his life, and his work underwent the seismic shudders of a multiple cultural revolution in terms of the text, the body and the machine.But Artaud could also abdicate himself from world events, and exile himself into the interior impulses of his own body and his creative activities.He lived through both world wars, the first (from the ages of eighteen to twenty-two) partly as a sanatorium patient and partly as a somnambulistic soldier, the second (from the ages of forty-three to forty-nine) entirely as a mental hospital patient.He participated in no social or military conflicts, and wrote in response to a newspaper questionnaire about the Moroccan conflict of 1925: ‘The war, that of Morocco or any other, appears to me exclusively a question of flesh.’[9] During the same period, his disagreement with Breton over the Surrealist movement’s affiliation to the French Communist Party was motivated largely by their divergence of response to the term ‘revolution’.For Artaud, the contents of the unconscious mind could never be applied to political and social arenas without, firstly, a drastic anatomical transformation.All of Artaud’s rapports with social and cultural institutions were disrupted by this preoccupying imagery of an individual human body in a process of grinding metamorphosis.In Artaud’s writings, culture and nature are amalgamated, crushed and brought down to a zero point.They are subjugated to a physical activity which must be set into movement before any other living structure may exist.The body comes before the word, and before the world.Artaud’s life was great tragedy – terrible failure upon failure, suppression after suppression.But he possessed a magisterial and monumental capacity for reactivation and reinvention.After each catastrophe, his tenacious proposals for the gestural life of the body were overhauled and presented in an entirely new way.His Surrealist work of the 1920s attempted experiments on consciousness through cinematic and poetic work.After the collapse of Artaud’s projects for Surrealism, his work re-evolved into the theatrical space.There, the body’s tightly controlled and expansively exaggerated gestures, in theatrical performance, aimed to seize the potential for an overwhelming expressivity, using an imagery of blood, disease, death and fire.Once that option had been closed to Artaud by the constraints of the 1930s Parisian theatre, he initiated his great creative journeys, making Mexico and Ireland the sites for an exploration of destructive rituals centred on the body [ Pobierz całość w formacie PDF ]