Langages, polyphonies and individuation in Artaud. 1931-1933
DOI:
https://doi.org/10.6093/sigma.v0i8.11489Keywords:
Artaud, chorus, polyphony, Theatre of Cruelty, individuationAbstract
This article aims to investigate the concept of polyphony in Antonin Artaud’s work during the early 1930s. The initial section delves into Le Théâtre et son Double, analyzing its portrayal of the collective body, its connections with the Greek model, and its significance in Artaud’s poetics. Subsequently, the paper undertakes an analysis of the scenario Il n’y a plus de firmament, chosen as a case study for several reasons. Firstly, it originates from the same period as the essays referenced (1931-1933) ; secondly, it centers around a broad community acting as the protagonist, which Artaud occasionally describes explicitly as a chorus. Lastly, as the script for a “total spectacle”, it offers insight into the role of language in forging this collective voice.
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Copyright (c) 2024 Benoît Monginot, Lorenza Valsania
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