Antonin Artaud and the theatre he created
"There is in every madman a misunderstood genius whose idea, shining in his head, frightened people, and for whom delirium was the only solution to the strangulation that life had prepared for him." Antonin Artaud is not known for his many famous and interesting quotes. He was known for his experiments with Theatre and the creations of a sub- Surrealist theatre known as Theatre of Cruelty.
The above quote, though, embodies who Artaud was; A genius, a madman, and in a league of his own. Artaud's life was not one that most would call normal and this helped shape his ideas and works as well as his contribution to dramatic theory. Though his beginnings and ideas are not those of the "norm"-que "what is normal" comment- Artaud is one man who has shaped the theatre and its art irreparably and will be idealized for a long time to come. Antonin Artaud was born September 4, 1896, under the full name Antonin-Marie-Joseph Artaud. Originally born in Marseille, France, he was introduced to mysticism at a young age through his Levantine Greek heritage. His knowledge and interest in mysticism shows up prevalently in the majority of his work (http://www.britannica.com/EBchecked/topic/36724/Antonin-Artaud). His heritage is not the only part of Antonin Artaud's life that shaped his work, nor was it the start of his dramatic writing.
"I myself spent nine years in an insane asylum and I never had the obsession of suicide, but I know
Two sculptures, among others, lie in the outskirts of the Franklin D. Murphy Sculpture Garden at UCLA. One of them, The Walking Man, is a bronze sculpture created by French sculptor Auguste Rodin in 1905. The other, made more than 100 years later, is T.E.U.C.L.A., a large scale steel sculpture made by minimalist sculptor Richard Serra. Although it may seem like these works have more differences than similarities, both emphasize the processes of their creation and are major movements away from the classical tradition of sculpture. However, The Walking Man and T.E.U.C.L.A. also differ in several aspects that reflect their respective artists’ personal portrayals of modern sculpture. These aspects include: mode of production, composition and the arrangement of volumes, the play of light and shadow, and visual experience. Together these elements of formal organization work together to convey meaning in both of these works. Rodin’s deliberate rejection of refinement and disregard for the direct translation of the unformed to formed in The Walking Man represent the process and spontaneity of reality, while Serra’s use of curvature and aperture in T.E.U.C.L.A. models the spaces people move through and the perceptive skills they use in life and nature.
Art History is the study of objects of art in their historical development and stylistic contexts. The history of art, we feel, can sometimes be confused with art criticism. However, Art History is concerned with finding the value of the artistic piece in respect with others in the same category of art or movement, and art criticism is more of an evaluation of art. The art examined best represents the culture during the time period, visions the artist imagined, and history behind an event. It also represents society in a specific area, beliefs the people may have, writing that tells a story, the natural world and environment, conflict between people and areas, and the human body. With these representations, artwork overall represents the life in which we live (d). Each piece has its own genre, design, format and style to it. This makes each piece extremely different, yet pleasing to the eye. They also vary between paintings, sculptures and architecture. These different types also make a variety of artwork to be seen by all people. The art pieces that I chose, Jar, Bottle and Glass by Juan Gris, The Persistence of Memory by Salvador Dalí, and Starry Night by Vincent Van Gogh, seemed interesting to me and I believe to best represent the context in which they were created, along with the major artistic movements of the time. I went on to research them more thoroughly to better understand the history behind them,
Similarly, in 1948 Balakian described the work of the Surrealists with a patronizing tone, stating that due to the realistic imagery required in Naturalistic Surrealism, the works produced were uninteresting in their application, becoming “… a smooth, academic, almost banal way of using the painter's material” (Hodin).
Goals and Objectives: To explore works of art which seek to imitate, admire, or judge the world around us. That world consists of animals and plants as well as human constructs: our knowledge systems our technology, and our cities.
The sound of the clock was all I could hear, breathing as it ticks. I lie still as if I were dead. I wished to be dead, but three unsuccessful attempts had proven to me that I couldn't do it. So I had to suffer and hate life and the body that I am imprisoned in. That's how I looked at life, as a prison, as a stale, dead carcass that I'm forced to smell. I looked at suicide as a jailbreak, from this life. I was never going to go through with it.
Form of "afterlife insurance" in order to trick the soul into staying alive in the event of the body's destruction
Throughout history, art has changed and transformed dramatically as empires have fallen and new civilizations have formed. There have been many different forms of art and extremely different tastes of art based on which civilization you decide to focus on. According to this opinion, out of all the different types of art, “the highest form of art is realism.” The writer then claims how many civilizations have undergone intellectual and creative declines when creating unrealistic art. This, of course, is simply an opinion, but the the thoughts and ideas of this writers bring up many intriguing questions about art and how society perceives art.
In Grandview Boulevard, completed in 1974 CE, the artist utilizes painterly brushstrokes. The shadows of the trees that are painted dark purple appear to have more painterly aspects than the rest of the composition. From far away, the painting seems smooth and sleek, but up close, the individual thick brushstrokes can be seen. The implied texture of the leaves in the painting is sturdy and prickly, and the texture of the yellowed grass appears to be dry and coarse, however, the actual texture of the painting itself is smooth. The artist also uses both curvilinear and geometric lines. In looking at the trees in the painting, they are composed of primarily geometric lines (excluding the leafy top) that run in a
In order to understand how insanity affected these artists’ works, the ways they developed it must first be examined. The first signs
This art work made by Pierre Auguste Renoir is oil by the visibility of the smudges and the texture the oil creates over the whole painting. The artist uses color evenly, the men are wearing white while the women are wearing dark navy blue, while the men and women are evenly distributed throughout the picture. The artist uses more dull colors, no dull vibrant colors mostly white, yellow, and dark blue. The colors used are even and well blended. Some symbolism used in the painting is how the men are all wearing white cutoff t-shirts but the women are covered up in dark clothing which around that time period women did not show skin possibly. In this piece the forms are realistic and
Famous French-American artist-cum-chess player Marcel Duchamp once said, “The individual, man as a man, man as a brain, if you like, interests me more than what he makes, because I've noticed that most artists only repeat themselves.” Duchamp, a highly unorthodox artist of his time, was often hailed as being the Father of Contemporary Art. He detested the so-called “retinal” art of his peers, and strove to make it something deeper—something that manifested its meaning through the lens of the viewer’s mind rather than through the retinas of their eyes. Duchamp believed that over the years, artists and society in general had grown accustomed to what their ancestors have created before them. He believed that art came from within, and was an idea
I had never heard anything like pianist Andrew (Andy) Lee’s piano recital, which was performed in the University of North Florida’s (UNF) Fine Arts Center Recital Hall. This performance made me think of the Antonin Artaud, and how Lee’s performance was strange and unsettling. Before I presented my concretion to the class, I read from The Theater and it’s Double. Reading Artaud helped me make a connection between Lee’s work which is titled, November. Artaud writes, “We must believe in a sense of life renewed by the theater, a sense of life in which man fearlessly makes himself master of what does not exist, and brings in into being” (13). The reason I made this association because I felt as though Lee was daring in creating a piece that had
The Auteur Theory is a concept that is viewed as a major creative force in motion picture. It has allowed the directors to oversee all the audio and visual elements they used in their motion picture. Francois Truffaut and Alfred Hitchcock are two well-known directors that use the Auteur Theory in their own unique way that makes each of their films very special. It can be seen the way Francois Truffaut wants us to be part of the film and experience what the characters are feeling and doing in 400 Blows. Though Alfred Hitchcock is seen as getting to the point and fast moving in Psycho.
The idea of this piece is to show the connection between mother and daughter being painted. It shows the time and the classic style of the
The history of art dates back to ancient times. Artwork can be, and was, found around the world. What makes art interesting is that it can be created in any way, shape or form with any materials. It seems that the artwork can also tell us a lot about the artist. Art seems to be simply, a direct, visual reflection of the artist’s life. Therefore, one can assume that an artist’s life experiences and beliefs directly influence their art. If we look at examples from different periods of art we will be able to see the connection between the artist and the art.