Antonin Artaud

他媽生了9個孩子但只有他和另外兩個幼年得以生還.
　　4歲就得腦膜炎，并同時患有神經(jīng)痛和憂郁癥.跟貝克特一樣，他也有過走在街上莫名其妙被一個皮條客從背后捅一刀的經(jīng)歷.
　　
　　父母讓他住了5年療養(yǎng)院，然后他應(yīng)征入伍，又因為夢游癥被開除.在療養(yǎng)院期間他讀了大量的蘭波，波德萊而和愛倫.坡.1919年5月，療養(yǎng)院的院長給他開了鴉片町，開啟了他為期一生的毒隱生涯.
　　
　　27歲到巴黎，給法國新巡報投稿被拒.編輯出于試圖理解他的意圖給他寫了回信，兩人從此保持通信關(guān)系.后書信被編輯出版.1926年被超現(xiàn)實主義掃地出門，因為拒絕跟他們一起加入共黨.
　　
　　參與創(chuàng)作了第一部超現(xiàn)實主義電影，搞了一個壽命很短但很多歐洲藝術(shù)家(諸如紀(jì)德，阿達(dá)莫夫，瓦萊里)都有過參與的小劇場[殘忍劇院].
　　
　　劇作在商業(yè)上慘敗.受邀到墨西哥教授歐洲文明史.跟塔拉乎馬藍(lán)人一起呼仙人掌猝取的毒品，后有詩集一本出版取名為.其中描述了他在進(jìn)入塔拉乎馬藍(lán)后的斷毒史(海洛因)——在沙漠里毒癮犯了時被馬拖著走....感覺"像一快巨大的，紅腫發(fā)炎的口香糖".
　　
　　以下的部分就更超現(xiàn)實了:
　　
　　1937返回法國，他得到了一根木頭的拐杖并不知為何堅信是屬于圣.帕特里克，耶穌和路西弗的.于是他為了還拐杖(給圣.帕特里克，耶穌和路西弗)來到愛爾蘭，住在自己根本付不起錢的旅館里，但由于他基本不會說英語所以沒人能明白他(是來還拐杖給圣.帕特里克，耶穌和路西弗的).在回程途中不知為何他堅信遭到兩個水手的襲擊并因此施展了報復(fù)，最終被逮捕并穿上了約束衣.
　　
　　
　　回到法國后開始了療養(yǎng)院生涯，最終入住精神病院.受到各種電擊治療并最終確診為精神分裂.(精神病里的絕癥).此后遭到友人鼓勵開始寫作，看了梵高的展覽寫的一篇批評文章還得了獎.并于1947年錄制了這張碟，卻在播放前一日因為其中反美和反宗教傾向，大量刺耳音效以及作品整體的無解程度，遭到法國電臺頭頭的擱置.最后法國電臺的另一要人Porché組建了一個陪審團(tuán)來聽這張作品，陪審人員包括 Jean Cocteau, Paul éluard, Raymond Queneau, Jean-Louis Barrault, René Clair, Jean Paulhan, Maurice Nadeau, Georges Auric, Claude Mauriac, René Char一干人.
　　
　　結(jié)果——陪審團(tuán)所有人員一致表示了對此作品的喜愛——Porché還是拒絕了對它的播放.
　　
　　災(zāi)難還沒有完.
　　
　　1948年1月他被確診為腸癌，兩個月后抱著自己的鞋坐著死在了病床腳.有傳聞道他是死于三氯甲醛(毒品)過量.
　　
　　三十年后法國電臺最終播出了這張.
　　
　　
　　
　　"想像，對阿赫托來說，就是他的現(xiàn)實.他認(rèn)為夢，思想和妄想都并不比外在世界更不真實.對他來說，現(xiàn)實只是一種一致.一種所有聽眾進(jìn)到劇場看一場表演時接受并裝作看見的是"真實的"的那種一致."
　　
　　"他的晚期作品表現(xiàn)了對靈肉分離論的反駁.他的詩歌臆像主義的耽溺于肉欲和分泌物，然而性對他卻一直是一種恐怖.文明是如此的邪惡，歐洲曾一度自豪的將墨西哥這樣的部落種族與自身一同拖入衰頹和死亡.不可避免的結(jié)局就是自我毀滅和精神奴役."
　　"阿赫托終身都在巨大的痛苦和監(jiān)禁中對抗著這兩個惡魔，這種對抗只能通過自身完成，而非通過任何集體抑或任何形式的"運動".他也因此徹底拒絕了政治和馬克思主義，而這種姿態(tài)導(dǎo)致了他被他剛開始試圖擁抱的超現(xiàn)實主義者一把推開.
　　
　　阿赫托認(rèn)為痛苦是生活的本質(zhì)，因此他拒絕會不可避免的成為敵托邦的烏托邦."
Antoine Marie Joseph Artaud, better known as Antonin Artaud (September 4, 1896, in Marseille – March 4, 1948 in Paris) was a French playwright, poet, actor and theatre director. Antonin is a diminutive form of Antoine (little Anthony), and was among a long list of names which Artaud used throughout his life.
Biographical information
Artaud's parents, Euphrasie Nalpas and Antoine-Roi Artaud, were of Greek origin (Smyrna), and he was much affected by this background.[1] Although his mother had nine children, only Antoine and two siblings survived infancy.
At the age of four, Artaud had a severe attack of meningitis. The virus gave Artaud a nervous, irritable temperament throughout adolescence. He also suffered from neuralgia, stammering and severe bouts of depression. As a teenager, he was allegedly stabbed in the back by a pimp for apparently no reason, similar to the experience of playwright Samuel Beckett.
Artaud's parents arranged a long series of sanatorium stays for their disruptive son, which were both prolonged and expensive. They lasted five years, with a break of two months, June and July 1916, when Artaud was conscripted into the army. He was allegedly discharged due to his self-induced habit of sleepwalking. During Artaud's "rest cures" at the sanatorium, he read Rimbaud, Baudelaire, and Poe. In May 1919, the director of the sanatorium prescribed laudanum for Artaud, precipitating a lifelong addiction to that and other opiates.
?Paris
In March 1920, Artaud moved to Paris. At the age of 27, Artaud sent some of his poems to the journal La Nouvelle Revue Fran?aise; they were rejected, but the editor, Jacques Rivière, wrote back seeking to understand him, and a relationship in letters was born. This epistolary work, Correspondence avec Jacques Rivière, is Artaud's first major publication. In November 1926, Artaud was expelled from the surrealist movement, in which he had participated briefly, for refusing to renounce theater as a bourgeois commercial art form, and for refusing to join the French Communist Party along with the other Surrealists.
Artaud cultivated a great interest in cinema as well, writing the scenario for the first Surrealist film, The Seashell and the Clergyman, directed by Germaine Dulac. He also acted in Abel Gance's Napoleon in the role of Jean-Paul Marat, and in Carl Theodor Dreyer's The Passion of Joan of Arc as the monk Massieu. Artaud's portrayal of Marat used exaggerated movements to convey the fire of Marat's personality.
In 1926-28, Artaud ran the Alfred Jarry Theater, along with Roger Vitrac. He produced and directed original works by Vitrac, as well as pieces by Claudel and Strindberg. The theatre advertised that they would produce Artaud's play Jet de sang in their 1926-1927 season, but it was never mounted and was not premiered until 40 years later. The Theater was extremely short-lived, but was attended by an enormous range of European artists, including André Gide, Arthur Adamov, and Paul Valéry.
In 1931 Artaud saw Balinese dance performed at the Paris Colonial Exposition. Although he did not fully understand the intentions and ideas behind traditional Balinese performance, it influenced many of his ideas for Theatre. Also during this year, the 'First Manifesto for a Theatre of Cruelty' was published in La Nouvelle Revue Fran?aise which would later appear as a chapter in 'The Theatre and Its Double'. In 1935, Artaud's production of his adaptation of Shelley's The Cenci premiered. The Cenci was a commercial failure, although it employed innovative sound effects--including the first theatrical use of the electronic instrument the Ondes Martenot--and had a set designed by Balthus.
After the production failed, Artaud received a grant to travel to Mexico in 1936 where he gave lectures on the decadence of Western civilization. He also studied and lived with the Tarahumaran people and experimented with peyote, recording his experiences which were later released in a volume called Voyage to the Land of the Tarahumara. The content of this work closely resembles the poems of his later days, concerned primarily with the supernatural. Artaud also recorded his horrific withdrawal from heroin upon entering the land of the Tarahumaras; having deserted his last supply of the drug at a mountainside, he literally had to be hoisted onto his horse, and soon resembled, in his words, "a giant, inflamed gum". Artaud would return to opiates later in life.
In 1937, Artaud returned to France where he obtained a walking stick of knotted wood that he believed belonged to St. Patrick, but also Lucifer and Jesus Christ. Artaud traveled to Ireland in an effort to return the staff, though he spoke very little English and was unable to make himself understood. The majority of his trip was spent in a hotel room that he was unable to pay for. On his return trip, Artaud believed he was being attacked by two crew members and retaliated; he was arrested and put in a straitjacket.
1938 saw the publication of The Theatre and Its Double, his most well-known work. This book contained the two manifestos of the Theatre of Cruelty, essential texts in understanding his artistic project.
?Final years
The return from Ireland brought about the beginning of the final phase of Artaud's life, which was spent in different asylums. When France was occupied by the Nazis, friends of Artaud had him transferred to the psychiatric hospital in Rodez, well inside Vichy territory, where he was put under the charge of Dr. Gaston Ferdière. Ferdière began administering electroshock treatments to eliminate Artaud's symptoms, which included various delusions and odd physical tics. The doctor believed that Artaud's habits of crafting magic spells, creating astrology charts, and drawing disturbing images, were symptoms of mental illness. The electro-shock treatments have created much controversy, although it was during these treatments — in conjunction with Ferdière's art therapy — that Artaud began writing and drawing again, after a long dormant period. In 1946, Ferdière released Artaud to his friends, who placed him in the psychiatric clinic at Ivry-sur-Seine. Current psychiatric literature describes Artaud as having schizophrenia, with a clear psychotic break late in life and schizotypal symptoms throughout life.
Artaud was encouraged to write by his friends, and interest in his work was rekindled. He visited an exhibition of works by Vincent van Gogh which resulted in a study Van Gogh le suicidé de la société (Van Gogh, The Man Suicided by Society), published by K éditeur, Paris, 1947 which won a critics′ prize [1]. He recorded Pour en Finir avec le Jugement de dieu (To Have Done With the Judgment of god) between November 22 and November 29, 1947. This work was shelved by Wladimir Porché, the director of the French Radio, the day before its scheduled airing on February 2, 1948. The performance was prohibited partially as a result of its scatological, anti-American, and anti-religious references and pronouncements, but also because of its general randomness, with a cacophony of xylophonic sounds mixed with various percussive elements. While remaining true to his Theater of Cruelty and reducing powerful emotions and expressions into audible sounds, Artaud had utilized various, somewhat alarming cries, screams, grunts, onomatopoeia, and glossolalia.
As a result, Fernand Pouey, the director of dramatic and literary broadcasts for French radio, assembled a panel to consider the broadcast of Pour en Finir avec le Jugement de Dieu. Among the approximately 50 artists, writers, musicians, and journalists present for a private listening on February 5, 1948 were Jean Cocteau, Paul éluard, Raymond Queneau, Jean-Louis Barrault, René Clair, Jean Paulhan, Maurice Nadeau, Georges Auric, Claude Mauriac, and René Char. Although the panel felt almost unanimously in favor of Artaud's work, Porché refused to allow the broadcast. Pouey left his job and the show was not heard again until February 23, 1948 at a private performance at the Théatre Washington.
In January 1948, Artaud was diagnosed with intestinal cancer. He died shortly afterwards on March 4, 1948, alone in the psychiatric clinic, seated at the foot of his bed, allegedly holding his shoe. It was suspected that he died from a lethal dose of the drug chloral, although it is unknown whether he was aware of its lethality. Thirty years later, French radio finally broadcast the performance of Pour en Finir avec le Jugement de Dieu.
?Artaud's Theatre of Cruelty
Artaud believed that the Theatre should affect the audience as much as possible, therefore he used a mixture of strange and disturbing forms of lighting, sound and performance.
In his book The Theatre and Its Double, which contained the first and second manifesto for a "Theatre of Cruelty," Artaud expressed his admiration for Eastern forms of theatre, particularly the Balinese. He admired Eastern theatre because of the codixfied, highly ritualized and precise physicality of Balinese dance performance, and advocated what he called a "Theatre of Cruelty". At one point, he stated that by cruelty, he meant not exclusively sadism or causing pain, but just as often a violent, physical determination to shatter the false reality. He believed that text had been a tyrant over meaning, and advocated, instead, for a theatre made up of a unique language, halfway between thought and gesture. Artaud described the spiritual in physical terms, and believed that all theatre is physical expression in space.
The Theatre of Cruelty has been created in order to restore to the theatre a passionate and convulsive conception of life, and it is in this sense of violent rigour and extreme condensation of scenic elements that the cruelty on which it is based must be understood. This cruelty, which will be bloody when necessary but not systematically so, can thus be identified with a kind of severe moral purity which is not afraid to pay life the price it must be paid.
– Antonin Artaud, The Theatre of Cruelty, in The Theory of the Modern Stage (ed. Eric Bentley), Penguin, 1968, p.66
Evidently, Artaud's various uses of the term cruelty must be examined to fully understand his ideas. Lee Jamieson has identified four ways in which Artaud used the term cruelty. Firstly, it is employed metaphorically to describe the essence of human existence. Artaud believed that theatre should reflect his nihilistic view of the universe, creating an uncanny connection between his own thinking and Nietzsche's:
[Nietzsche's] definition of cruelty informs Artaud's own, declaring that all art embodies and intensifies the underlying brutalities of life to recreate the thrill of experience … Although Artaud did not formally cite Nietzsche, [their writing] contains a familiar persuasive authority, a similar exuberant phraseology, and motifs in extremis …
– Lee Jamieson, Antonin Artaud: From Theory to Practice, Greenwich Exchange, 2007, p.21-22
Artaud's second use of the term (according to Jamieson), is as a form of discipline. Although Artaud wanted to "reject form and incite chaos" (Jamieson, p.22), he also promoted strict discipline and rigor in his performance techniques. A third use of the term was ‘cruelty as theatrical presentation’. The Theatre of Cruelty aimed to hurl the spectator into the centre of the action, forcing them to engage with the performance on an instinctive level. For Artaud, this was a cruel, yet necessary act upon the spectator designed to shock them out of their complacency:
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 wanted to (but never did) put the audience in the middle of the 'spectacle' (his term for the play), so they would be 'engulfed and physically affected by it'. He referred to this layout as like a 'vortex' - a constantly shifting shape - 'to be trapped and powerless'. [needs citation]
Finally, Artaud used the term to describe his philosophical views, which will be outlined in the following section.
Philosophical views
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.
His later work presents his rejection of the idea of the spirit as separate from the body. His poems imagistically revel in flesh and excretion, but sex was always a horror for him. Civilization was so pernicious that Europe was pulling once proud tribal nations like Mexico down with it into decadence and death. The inevitable end result would be self-destruction and mental slavery. These were two evils Artaud opposed in his own life at great pain and imprisonment, as they could only be opposed personally and not on behalf of a collective or movement. He thus rejected politics and Marxism wholeheartedly, a stance which led to his expulsion by the Surrealists who had begun to embrace it.
Artaud saw suffering as essential to existence, and thus rejected all utopias as inevitable dystopia.
Influence
Artaud was heavily influenced by seeing a Colonial Exposition of Balinese Theatre in Marseille. He read eclectically, inspired by authors and artists such as Seneca, Shakespeare, Poe, Lautréamont, Alfred Jarry and André Masson.
Artaud's theories in Theatre and Its Double influenced rock musician Jim Morrison. M?tley Crüe named the Theatre of Pain album after reading his proposal for a Theater of Cruelty, much like Christian Death had with their album Only Theatre of Pain. The band Bauhaus included a song about the playwright, called "Antonin Artaud", on their album Burning from the Inside [2]. Charles Bukowski[citation needed] also claimed him as a major influence on his work. Influential Argentine Progressive rock songwriter Luis Alberto Spinetta named his album Artaud and wrote most of the songs on that album based on his writings. Composer John Zorn has three records, "Astronome", "Moonchild", and "Six Litanies for Heliogabalus", dedicated to Artaud.
Theatrical practitioner Peter Brook took inspiration from Artaud's "Theatre of Cruelty" in a series of workshops that lead up to his well-known production of Marat/Sade. The Living Theatre was also heavily influenced by him, as was much English-language experimental theater and performance art; Karen Finley, Spalding Gray, Liz LeCompte, Richard Foreman, Charles Marowitz, Sam Shepard, Joseph Chaikin, and more all named Artaud as one of their influences.
Artaud also had a profound influence on the philosophers Gilles Deleuze and Félix Guattari, who borrowed Artaud's phrase "the body without organs" to describe their conception of the virtual dimension of the body and, ultimately, the basic substratum of reality.
The survival horror video game Silent Hill: Origins contains a segment in which the protagonist must solve puzzles within the "Artaud Theatre", which is in the town of Silent Hill.
Bibliography
Works by Artaud
Artaud, Antonin. Oeuvres complètes d’Antonin Artaud, Paris: Gallimard, 1961 & 1976.
Artaud, Antonin. Collected Works of Antonin Artaud, Trans. Victor Corti. London: Calder and Boyars, 1971.
Artaud, Antonin. Selected Writings, Trans. Helen Weaver. Ed. and Intro. Susan Sontag. New York: Farrar, Straus and Giroux, 1976.
Artaud, Antonin. Pour en finir avec le jugement de dieu, Original recording. Edited with an introduction by Marc Dachy. Compact Disc. Sub Rosa/aural documents, 1995.
Artaud, Antonin. The Theatre and Its Double, Trans. Mary Caroline Richards. New York: Grove Weidenfeld, 1958.
Artaud, Antonin. 50 Drawings to Murder Magic, Trans. Donald Nicholson-Smith. London: Seagull Books, 2008. ISBN 978-1905422661
Artaud, Antonin. Artaud Anthology, Trans. Jack Hirschman. San Francisco: City Lights, 1963. ISBN 9780872860001
In English
Barber, Stephen Antonin Artaud: Blows and Bombs (Faber and Faber: London, 1993) ISBN 0-571-17252-0
Derrida, Jacques "The Theatre of Cruelty" and "La Parole Souffle" Writing and Difference trans. Alan Bass (The University of Chicago Press, 1978) ISBN 0-226-14329-5
Esslin, Martin. Antonin Artaud. London: John Calder, 1976.
Goodall, Jane, Artaud and the Gnostic Drama. Oxford: Clarendon Press; Oxford; New York: Oxford University Press, 1994. ISBN 0198151861
Innes, Christopher Avant-Garde Theater 1892-1992 (London: Routledge, 1993).
Jamieson, Lee Antonin Artaud: From Theory to Practice (Greenwich Exchange: London, 2007) ISBN 978-1-871551-98-3
Jannarone, Kimberly, "The Theater Before Its Double: Artaud Directs in the Alfred Jarry Theater," Theatre Survey 46.2, Nov. 2005: 247-273.
Koch, Stephen. "On Artaud." Tri-Quarterly, no. 6 (Spring 1966): 29-37.
Plunka, Gene A. (Ed). Antonin Artaud and the Modern Theater. Cranbury: Associated University Presses. 1994.
Rainer Friedrich, "The Deconstructed Self in Artaud and Brecht: Negation of Subject and Antitotalitarianism", Forum for Modern Language Studies, 26:3 (July 1990): 282-297.
Roger Shattuck, "Artaud Possessed", The Innocent Eye (New York: Farrar Straus Giroux, 1984): 169-186.
Ward, Nigel "Fifty-one Shocks of Artaud", New Theatre Quarterly Vol.XV Part2 (NTQ58 May 1999): 123-128
In French
Blanchot, Maurice. "Artaud." La Nouvelle Revue Fran?aise 4 (November 1956, no. 47): 873-881.
Héliogabale ou l'Anarchiste couronné, 1969
Brau, Jean-Louis. Antonin Artaud. Paris: La Table Ronde, 1971.
Virmaux, Alain. Antonin Artaud et le théatre. Paris: Seghers, 1970.
Virmaux, Alain and Odette. Artaud: un bilan critique. Paris: Belfond, 1979.
Virmaux, Alain and Odette. Antonin Artaud: qui êtes-vous? Lyon: La Manufacture, 1986.