The Secret Art of Antonin Artaud by Jacques Derrida
By Jacques Derrida
Antonin Artaud (1896-1948) was once a level and movie actor, director, author, drug addict, and visible artist. This quantity provides texts translated into English which describe Artaud's drawings and graphics. in a single, Jacques Derrida examines the works that he first observed at the partitions of Paule Thevenin's residence. His textual content struggles with Artaud's language and is punctuated through footnotes and asides that mirror this pressure ("How will they translate this?"). The more uncomplicated textual content of Paule Thevenin describes the historical past of Artaud's drawings and pix. as a result of a dispute among Artaud's heirs and Paule Thevenin, the ebook doesn't comprise reproductions of Artaud's paintings. as an alternative, there's a sequence of images of Artaud by way of Georges Pastier. "We won't be describing any paintings," says Derrida within the textual content, that is addressed to that which underlies either language and paintings.
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Beneath them there can also be seen, in the center, a person reduced to a head, a trunk, and a leg, with one vertebral column that appears to be escaping from him. If I have dwelt at such length on the detail of these two drawings, it is because they seem to me characteristic of Antonin Artaud's procedure at that time. He has to take possession of the whole space, peopling it with signs and words, garnishing it in all possible directions with diverse weapons, without permitting the slightest breach to appear in which malevolent forces could go to work.
16. V, 121. 17. VII, 481, n. 3. 18. I, 62. 11. Antonin Artaud, Lettres a Genica Athanasiou (Paris: Gallimard, 1969), p. 46. 12. Ill, 111, letter to Yvonne Gilles about November 22, 1923. 13. 'Amour" (Paul the Birds or the Place of Love) ( cf. I, 54-56), whose theme was taken from "Paolo Uccello," in Vies imaginaires (Imaginary Lives) by Marcel Schwob. A first version of this text was called "Drame mental" (Mental Drama). 'amour. 19. I, 147-148. 20. Andre Breton, Entretiens (Interviews) (Paris: Gallimard, 1952), p.
The gesture that Antonin Artaud must have made to inscribe such heavy marks in the paper is certainly the same one that I saw him repeat hundreds of times when, having discovered on his back, or his head, or 4I Paule :Jlevenin any other part of his body a spot of particular pain, he would stick into it the point of his pencil or his knife, pressing as hard as possible for several minutes. The first objects he drew are generally found in the margins; relatively geometrical in shape, they are often crosses, taus, coffins.