scholarly journals The Aran Islands, one by one: John Millington Synge and Antonin Artaud

Irlande ◽  
2001 ◽  
pp. 119-128
Author(s):  
Jonathan Pollock
Keyword(s):  
John Millington Synge ◽  
Antonin Artaud ◽  
Aran Islands

‘listening to this rude and beautiful poetry’: John Millington Synge as Song Collector in the Aran Islands

2016 ◽  
Vol 46 (2) ◽  
pp. 243-259
Author(s):  
Deirdre Ní Chonghaile
Keyword(s):  
John Millington Synge ◽  
Lady Gregory ◽  
Aran Islands

To date, little attention has been given to the songs in Synge's The Aran Islands, items that Tim Robinson imagines are not ‘fully thought into the texture of the work’. They come from a collection of songs in Irish and in English that was created by Synge in Inis Oírr in 1901 in the company of the local poet Mícheál Ó Meachair. This essay investigates Synge's song collection and the local singers and poets whom he met, including Seághan Seoige of Baile an Fhormna, Inis Oírr and Marcuisín Mhichil Siúinéara Ó Flaithbheartaigh of Cill Rónáin, Árainn. It examines how the music of Aran impacted on Synge during his four visits between 1898 and 1901, what his collection tells us about the song tradition of Aran, and what inspired him to collect songs there. Did Douglas Hyde's Love Songs of Connacht prompt him to create his own collection? What parts did Lady Gregory and W.B. Yeats play? Considering Synge was a trained musician and composer, why did he not collect the airs that accompanied the songs? Recognising the influence of sean-nós song on Synge's dramatic oeuvre, this essay questions whether or not the songs of Aran affected his work.

Oceans Apart: Amitav Ghosh, John Millington Synge, and Weak Comparison

2020 ◽  
Vol 50 (1) ◽  
pp. 120-130
Author(s):  
Cóilín Parsons
Keyword(s):  
Twentieth Century ◽  
Comparative Studies ◽  
Irish Literature ◽  
John Millington Synge ◽  
Amitav Ghosh ◽  
Space And Time ◽  
Object Of Study ◽  
Aran Islands

This article compares John Millington Synge's The Aran Islands (1907) and Amitav Ghosh's In An Antique Land (1992), travelogues, histories, and anthropological investigations of maritime societies. Both books tell of a world marked by syncretism and synthesis, and deep and unbroken time, and their narratives are fractured, fragmented, temporally promiscuous, and logically paratactical. In comparing these two books, the article asks what it means, and what it could yield, to read together two accounts of oceanic lives from opposite ends of the twentieth century and from distinct continents and oceans? What emerges is the outline of a ‘speculative practice of weak comparison’ that allows us to extend how we understand the contexts of an object of study called ‘Irish’ literature. By rethinking the scale of Irish literature, the article concludes, we necessarily decentre Ireland, and find opportunities to disaggregate Irish literature and its Irishness, setting a new agenda for comparative studies of Ireland that range widely in space and time.

Antonin Artaud

1966 ◽  
Vol 23 (1) ◽  
pp. 49-49
Author(s):  
Dora M. Pettinella
Keyword(s):  
Antonin Artaud

scholarly journals Radically Recalcitrant Radio

Resonance ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 6-14
Author(s):  
Allen S. Weiss
Keyword(s):  
French Language ◽  
Poetry And Poetics ◽  
Antonin Artaud

What would it mean to consider the last works of Antonin Artaud, including his major radio piece, To Have Done With the Judgment of God—written after his return to language following years of aphasia during his incarceration in the psychiatric asylum of Rodez and upon his return to Paris just before his death—as poetry? Based upon a veritable rhetoric of repulsion and abjection, effecting an obsessive resistance to readability, Artaud utilized numerous tactics to reject the reader: unmentionable blasphemy, putrid scatology, unintelligible glossolalia, hideous violence, abhorrent politics, obscene curses, unfathomable contradictions, bewildering lists, inexorable negations, disorienting syntax, unsettling non sequiturs, undefinable neologisms, uncanny repetitions. Were these writings to be inserted into the French poetic canon, they would necessitate a radical reconsideration of poetry and poetics, indeed of the French language itself, based upon the nihilistic powers of performance and performativity.

Antonin Artaud in "Les Cenci"

1972 ◽  
Vol 16 (2) ◽  
pp. 90 ◽  
Author(s):  
Roger Blin ◽  
Antonin Artaud ◽  
Victoria Nes Kirby ◽  
Nancy E. Nes ◽  
Aileen Robbins
Keyword(s):  
Antonin Artaud

Theaterpublikum – das unbekannte Wesen. Annäherungen an eine vernachlässigte Figur

2019 ◽  
Vol 3 ◽  
pp. 14-33
Author(s):  
Doris Kolesch
Keyword(s):  
Bertolt Brecht ◽  
Antonin Artaud ◽  
The Spectator

Nicht erst mit der Performance-Kunst seit den 1960er-Jahren findet eine künstlerische Befragung der Rolle und Funktion des Publikums statt. Das gesamte 20. Jahrhundert ist in den performativen Künsten gekennzeichnet durch eine Erprobung, eine Veränderung und Hinterfragung dessen, was ein Publikum ist und was ein Publikum tun sollte oder auch nicht. So forderte schon Bertolt Brecht eine neue »Zuschaukunst«, wollte Antonin Artaud die Zuschauer_innen in »ein elektrisches Seelenbad, drin der Intellekt periodisch gehärtet wird«, tauchen und transformierte die Performance-Kunst die Zuschauer_innen zu aktiven Teilnehmer_innen und Mitspieler_innen. Diese Erkundung ist noch längst nicht abgeschlossen, wie beispielsweise aktuelle immersive Aufführungsformate zeigen. Doch trotz der praktischen wie theoretischen Relevanz, die dem Publikum im Theater des 20. und beginnenden 21. Jahrhunderts zukommt, weiß die Theaterwissenschaft relativ wenig über das Publikum und konstruieren aufführungsanalytische Ansätze häufig eine idealisierte Zuschauinstanz. Noch immer gilt mithin für die Theaterwissenschaft, was Dennis Kennedy 2009 in seiner Studie The Spectator and the Spectacle. Audiences in Modernity and Postmodernityvermerkte: Der Zuschauende sei »a pale hypothetical inference in the commentator’s imagination.« Es ist an der Zeit, Theaterwissenschaft auch als Publikumsforschung zu verstehen. Der Beitrag skizziert an ausgewählten Beispielen aus der Theater- und Performancegeschichte vom 18. bis zum 21. Jahrhundert wesentliche Veränderungen des Verhältnisses zwischen theatralem Geschehen und Publikum sowie unterschiedliche Konzepte und Praktiken theatraler Wahrnehmung. Auf dieser Grundlage werden Perspektiven einer theaterwissenschaftlichen Publikumsforschung umrissen.

scholarly journals Persona, skènè, drama : la grande transformation du théâtre et de la sociologie

2013 ◽  
pp. 97-114 ◽  
Author(s):  
Jean-François Côté
Keyword(s):  
Gertrude Stein ◽  
Bertolt Brecht ◽  
Antonin Artaud ◽  
Collège De Sociologie

Cet article présente les rapports établis entre trois écoles de sociologie et trois figures de l’avant-garde théâtrale contemporaine (Gertrude Stein et l’École de Chicago, Antonin Artaud et le Collège de sociologie, et Bertolt Brecht et l’École de Francfort). Il présente ces rapports en fonction des transformations affectant les catégories de « persona », de « skéné » et de « drama », héritées de la tradition théâtrale, mais qui ont toutes subi des redéfinitions majeures au sein de l’expérimentation théâtrale, ainsi que dans l’analyse sociologique. À travers le pragmatisme, la psychanalyse et le marxisme, ces catégories ont été respectivement redéfinies en fonction d’aires de la pratique et de la (re)présentation contemporaine, qui ont exposé la personne, le corps et l’action selon de nouvelles dispositions. Ces transformations sont à situer dans la révision des divisions catégoriques inhérentes à la philosophie hégélienne portant sur l’âme, la conscience et l’esprit, ainsi que dans le passage de la société bourgeoise moderne à la société de masse postmoderne.

scholarly journals ANTONIN ARTAUD E JOSÉ SARAMAGO: CAOS E COSMOS

2021 ◽  
Vol 5 (01) ◽  
pp. 198-207
Author(s):  
Adeilton Lima Silva
Keyword(s):  
Antonin Artaud ◽  
Jose Saramago

O presente artigo analisa duas obras fundamentais para a compreensão de temáticas importantes da era industrial e tecnológica. Para Acabar com o Julgamento de Deus (1948), de Antonin Artaud e O Ano de 1993 (1975), de José Saramago. Propõe-se uma reflexão sobre a degradação humana, as guerras e invasões territoriais por recursos energéticos, os problemas ambientais associados à crise climática, à degradação social, econômica e política no planeta. Os paradoxos do avanço tecnológico e as suas consequências, como o desemprego e a fome, a reconfiguração das sociedades e os processos migratórios. Também os movimentos sociais, culturais e antirracistas diante da ascensão do neofascismo numa articulação com o conceito de necropolítica proposto pelo filósofo Achile Mbembe. Palavras-chave: Necropolítica. Guerras. Humanidade. Neofascismo. crueldade.

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