By Laurens De Vos
Departing from a clean examine the information of Antonin Artaud, this e-book offers an intensive research of ways either Sarah Kane and Samuel Beckett are indebted to his legacy. In juxtaposing those playwrights, De Vos minutely issues out how either of their personal approach fight with coming to phrases with Artaud. A key idea in Lacanian psychoanalytic theories, hope lies on the root of the Theatre of Cruelty; Kane and Beckett end up that hope and cruelty are inextricably associated with each other, yet that they seem in extensively diversified disguises. counting on Kane and Beckett, this ebook not just sheds a mild at the specified intentions in the back of Artaud's undertaking, it additionally maps out the structural parallels and dichotomies among the Theatre of Cruelty and the literary style of tragedy. instantly after the most suitable of Sarah Kane's Blasted in 1995, a few reviewers made a hyperlink with Antonin Artaud's Theatre of Cruelty. those parallels, besides the fact that, have been completely in response to the abundance of actual violence on degree. according to those assertions, this booklet lines minutely Artaud's legacy for later generations. utilising Jacques Lacan's psychoanalytical principles as a theoretical framework, De Vos defines Artaud's undertaking now not quite a bit by way of blood and goriness, yet particularly as a theater of ardour, revolving round notions as wish, love and the subjectile, an idea that was once drawn consciousness to through Derrida. furthermore, the belief of the scapegoat delineated by means of Rene Girard presents a leg-up to explain the intrinsic parallels in addition to divergences among the Theatre of Cruelty and tragedy, whereas additionally Lacan's research of Antigone is being checked out. Phaedra's Love, Cleansed and 4.48 Psychosis are largely handled during this examine, and indicate the advance Kane went via in her brief yet whilst lengthy trajectory. The 3rd half on Beckett focuses totally on Krapp's final Tape and never I, and both so calls in Lacan to appreciate self-alienation and self-conceptualization in its relation to Artaud's Theatre of Cruelty. This ebook could be of use to somebody drawn to modern theater or within the box of psychoanalysis made appropriate within the arts.
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Extra info for Cruelty and Desire in the Modern Theater: Antonin Artaud, Sarah Kane, and Samuel Beckett
25 Even this one 20 Introduction gift from a purely passive, imaginary reader or listener inspires Bernard to dismiss his shadowy audience with gratitude. By struggling to order his or her experience, an author may, as Bernard suggests, be left with a fresher appreciation of its fullness, but what effect do such stories have on the reader? The danger of reading orderly narratives is that they interfere with an appreciation of what Bernard calls “the mystery of things” (252), which no one – neither author nor reader – fully understands.
No longer buoyed by a dominant narrative current in ﬁction, we are asked – as in life – to make choices at every turn. Lyric poetry has always demanded that we respond to it performatively, by experimenting with different modes of engaging with it, but in the twentieth century ﬁctional prose and long poems were radically transformed as well. So-called “modernist” techniques gradually began to change the appearance of literature, presenting an intellectually or sensually challenging surface that initially seems to hold the reader at a distance.
Shot out at the feet of God entirely naked! Tumbling head over heels in the asphodel meadows like brown paper parcels pitched down a shoot [sic] in the post ofﬁce! With one’s hair ﬂying back like the tail of a racehorse. Yes, that seems to express the rapidity of life, the perpetual waste and repair; all so casual, all so haphazard. . 8 Rapid velocity, haphazard intersections of thoughts, sensations, and people: these are characterizations of modern urban life. Is it possible to comprehend such a world?