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Zusatztext 'Ros Murray's engaging book offers an excellent survey across significant aspects of Antonin Artaud's ouevre! and outlines a clear set of principles that underpinned his creative energies. Starting with the premise that Artaud's work attempted to locate the origins of thought in the body! and considering the implications of this for his art! Murray seeks to put different disciplinary approaches and perspectives in dialogue as she approaches his output in various media. With an eye always on how the body and the text interact! Artaud's relationship with language is scrutinised! giving the reader a useful set of approaches to his activities that contextualises! clarifies and facilitates our continued engagement with that varied! challenging and expressive body of work.' - Mark Taylor-Batty! University of Leeds! UK Informationen zum Autor Dr. Ros Murray is a Leverhulme Early Career Research Fellow in the department of Film Studies at Queen Mary, University of London, UK. Klappentext This book serves as analysis of the aesthetics of materiality in the multifaceted work of Antonin Artaud, one of Twentieth-Century France's most provocative and influential figures, spanning literature, performance, art, cinema, media and critical theory. Zusammenfassung This book serves as analysis of the aesthetics of materiality in the multifaceted work of Antonin Artaud! one of Twentieth-Century France's most provocative and influential figures! spanning literature! performance! art! cinema! media and critical theory. Inhaltsverzeichnis Introduction 1. The Limits of Representation 2. Through the Digestive System 3. Theatre, Magic and Mimesis 4. Artaud on Film 5. Artaud on Paper 6. The Machinic Body Conclusion Bibliography Filmography
List of contents
Introduction 1. The Limits of Representation 2. Through the Digestive System 3. Theatre, Magic and Mimesis 4. Artaud on Film 5. Artaud on Paper 6. The Machinic Body Conclusion Bibliography Filmography
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'Ros Murray's engaging book offers an excellent survey across significant aspects of Antonin Artaud's ouevre, and outlines a clear set of principles that underpinned his creative energies. Starting with the premise that Artaud's work attempted to locate the origins of thought in the body, and considering the implications of this for his art, Murray seeks to put different disciplinary approaches and perspectives in dialogue as she approaches his output in various media. With an eye always on how the body and the text interact, Artaud's relationship with language is scrutinised, giving the reader a useful set of approaches to his activities that contextualises, clarifies and facilitates our continued engagement with that varied, challenging and expressive body of work.' - Mark Taylor-Batty, University of Leeds, UK
