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By Stephen Barber

Antonin Artaud (1896-1948) continues to be some of the most inspirational, provocative and tough figures in world-wide modern tradition. His trajectory extends from the Surrealist stream, to the Theatre of Cruelty, to the lunatic asylums of France, and eventually again to Paris and the main excellent interval of his paintings. during this specific publication, Stephen Barber explores the main violent extremes of Artaud's imaginative and prescient - paintings that's traversed through forces of ecstasy and annihilation, and sutured jointly by means of a uncooked imagery of the screaming human physique. in accordance with vast interviews with Artaud's closest associates and enemies, together with the psychiatrist who gave him electro-shock remedy, ARTAUD: THE SCREAMING physique supplies a whole and authoritative account of Artaud's movie tasks, and his perception of Surrealist cinema. It additionally examines his specific sequence of drawings of the fragmented human physique, all started within the ward of a lunatic asylum and entire in a kingdom of livid liberation. eventually, the ebook captures Artaud's final scan with the screaming physique within the type of his censored recording "To Have performed With The Judgement Of God" -an test that is remarkable within the background of artwork, and which finally decimates that heritage.

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Additional info for Artaud: The Screaming Body: Film, Drawings, Recordings 1924-1948

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It does not explore fresh expressive means except in a very small range much disproportionate to the ambitious scale of some films. The new "style" is not more radically filmic but more informally filmic. That extraordinary life-giving juxtaposition of images, which in poetry was seen in the flowering of imagism, symbolism, and surrealism, has almost totally disappeared as a dominant filmic technique. A number of more talented Underground film makers (a few of whom may repudiate the label) have systematically created a fetichism of filmic mannerism, and treated vague, vague scenarios (possibly "cosmic" or "mythic" in idea) in terms of this mannerism; the results, though there are exceptions, are most unsatisfying and monotonous.

In Rashomon, there is no strategic effort to conceal any more than a modern painter's purpose is to conceal instead of reveal. The basic issue, in art, must always be what the creator desires to reveal. " But this enigma is merely one specific aspect of the whole mystery of being, a particular insight into human consciousness in terms of the individual, and so has that complex poetry of which all profound art partakes. So with the enigma of Rashomon. This great Japanese film is a "mystery story" to the extent that existence itself is a mystery as conceived in the deepest psychological and aesthetic senses.

When, in Miss Deren's Study in Choreography for Camera, a dancer begins his movement in a wood, continues it without the least interruption as the scene shifts to a private interior, then to a hall in a museum, then to another interior and back to the wood, reaching his climax with a triumphant sense of dance-flow, we have an active, self-contained figure seen before a background whose seemingly arbitrary and sudden mutations are independent of his movements and of which he seems quite unaware.

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