| Автор | Jannarone, Kimberly |
| Дата выпуска | 2005 |
| dc.description | It is ironic that the works of Antonin Artaud, who called for the rejuvenation of theatre as such, come to us today not on their own, but through an unusually dense filter: a peculiarly persistent critical/theoretical apparatus doubles his own writings and practice. Artaudʼs work has occupied a cultish space in both French and English criticism for several decades. Each major trend in Artaud scholarship has reinforced the image of Artaud as a brilliant/mad theoretician and inspirational writer but a failed theatre practitioner—worse, one doomed to failure. The French school of criticism has plumbed the depths of the paradoxes of Artaudʼs oeuvre, examining the impossibility of reconciling the inadequacy of expression with the need to express. Derrida has argued that Artaudʼs projects, by their nature, by his nature, cannot succeed: They betray him the moment they begin to be articulated; they cannot stand upright the minute they leave his body. Much French criticism takes Artaudʼs madness and uses it as a touchstone for discussion of his legacy. The French Artaud begins at the asylum in Rodez. |
| Издатель | Cambridge University Press |
| Название | The Theatre before Its Double: Artaud Directs in the Alfred Jarry TheatreKimberly Jannarone is Assistant Professor of Theatre at the University of California Santa Cruz, where she both directs and teaches theatre history, dramaturgy, performance theory, and directing. She received her MFA and DFA from the Yale School of Drama. She has published in New Theatre Quarterly, French Forum, and Theatre Journal on Jarry, Artaud, and Witold Gombrowicz. She is currently finishing a book on Artaudʼs theatrical practice. |
| DOI | 10.1017/S0040557405000153 |
| Electronic ISSN | 1475-4533 |
| Print ISSN | 0040-5574 |
| Журнал | Theatre Survey |
| Том | 46 |
| Первая страница | 247 |
| Последняя страница | 273 |
| Аффилиация | Jannarone Kimberly; University of California Santa Cruz |
| Выпуск | 2 |
