Nutzerkonto

Antonin Artaud

Aliénation et magie noire – Alienation and Black Magic

Aus: Radio Works: 1946–48, S. 98 – 107

  • Radio
  • Apokalypse
  • Literatur

Meine Sprache
Deutsch

Aktuell ausgewählte Inhalte
Deutsch, Englisch, Französisch

Antonin Artaud

Antonin Artaud

(1896–1948) is one of the seminal figures of twentieth century writing, art and sound experimentation, known especially for his work with the Surrealist movement, his performance theories, his asylum incarcerations, and his artworks which have been exhibited in major exhibitions, at New York’s MOMA and many other art-museums.
Antonin Artaud, Stephen Barber (Hg.): Radio Works: 1946–48

Antonin Artaud, Stephen Barber (Hg.)

Radio Works: 1946–48

Übersetzt von Stephen Barber und Clayton Eshleman

Mit einem Vorwort von Ros Murray

Broschur, 124 Seiten

PDF, 124 Seiten

In the last two years of his life, following his release from the Rodez asylum, Antonin Artaud decided he wanted his new work to connect with a vast public audience, and chose to record radio broadcasts in order to carry through that aim. That determination led him to his most experimental and incendiary project, To have done with the judgement of god, 1947-48, in which he attempted to create a new language of texts, screams, and cacophonies: a language designed to be heard by millions, aimed, as Artaud said, for ‘road-menders’. In the broadcast, he interrogated corporeality and introduced the idea of the ‘body without organs’, crucial to the later work of Deleuze and Guattari. The broadcast, commissioned by the French national radio station, was banned shortly before its planned transmission, to Artaud’s fury.

 

This volume collects all of the texts for To have done with the judgement of god, together with several of the letters Artaud wrote to friends and enemies in the short period between his work’s censorship and his death. Also included is the text of an earlier broadcast from 1946, Madness and Black Magic, written as a manifesto prefiguring his subsequent broadcast. Clayton Eshleman’s extraordinary translations of the broadcasts activate these works in their extreme provocation.