"WHY THE ALFRED-JARRY THEATER?", ANTONIN ARTAUD 2, ARTAUD AND THEATRICAL AVANT-GARDES, MINARD, 2005, PP. 9-24.
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La Revue des lettres modernes Artaud and theatrical avant-gardes
Type of publication: Collective
Book director: Penot-Lacassagne (Olivier)
Summary: Founded by Michel Minard in 1954, "La Revue des Lettres modernes" is a collection of monographic and thematic series devoted to modern and contemporary writers.
Number of pages: 193
Publication: 28/06/2023
Reprint of the edition of: 2005
Journal: La Revue des lettres modernes
Series: Antonin Artaud, n° 2
Other information ⮟
CLIL Theme: 4027 — HUMANITIES AND SOCIAL SCIENCES, LETTERS — Letters and Language Sciences — Letters — General and thematic literary studies
EAN: 9782406148210
ISBN: 978-2-406-14821-0
ISSN: 0035-2136
DOI: 10.48611/isbn.978-2-406-14822-7
Publisher: Classiques Garnier
Online: 28/06/2023
Periodicity: Monthly
Language: French Keyword: Theater of Cruelty, Living Theater, Orient, Mexico, René Daumal, Peter Brook, Jerzy Grotowski, Eugenio Barba, Ariane Mnouchkine, Japan
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Artaud and theatrical avant-gardes
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Article reproduced in: Henri Béhar, Shock Waves, new essays on the avant-garde, Lausanne, L'Age d'Homme, 2010, p. 117-128.
Three common and simultaneous points characterize the different currents of the avant-garde now called "historical": rupture, the constitution of a community, finally a political determination. Having established that every avant-garde is necessarily political, Henri Béhar does not evade the delicate problem of the critic's and historian's engagement. Regrouping a choice of communications and essays published in journals, this volume is ordered in three parts. The first groups together research relating to the explosions of the Dada bomb that Max Ernst refused to gather: Tristan Tzara's role in the diffusion of Futurism, his discovery of Negro poetry, his productive friendship with Hans Arp; the political factor at work in the movement, and its discovery of the unconscious. The second part examines the groundswells that occurred, in general, on the boards, both through the treatment of Shakespearean scenarios and through the foundation of the Alfred-Jarry Theater, the irruption of Artaud's laughter, the surrealist stagings of Sylvain Itkine with the Scarlet Devil, the generally ignored role of Roger Vitrac in cinema and finally a global examination of provocation as a dramaturgical category. By analogy with the language of geologists who thus designate the Pacific zone where 75% of terrestrial earthquakes occur, the third part takes to analyzing the surrealist ring of fire through singular figures or moments: the Paulhan-Breton relation, relations with the Grand Jeu, literary criticism at work in surrealist journals, the eminent role played by Dali, from scatology to eschatology, the movement's relations with the political and, finally, its role in the elaboration of the Manifesto of the 121. The whole is preceded by a broad panorama, casting a lucid and amused gaze on fifty years of personal work on the question.