Naomi Greene, University of California, Santa Barbara Her important and highly readable book asserts that, far from being a symbol of liberation and 'revolt,' Artaud's work has important affinities with repressive and irrational strands of fascist thought." "While critics have long focused on Antonin Artaud as the epitome of the suffering and martyred artist and on the 'liberating' aspects of his work, argues Kimberly Jannarone, the time has come to situate him within a fuller historical, political, and cultural context. This book will appeal to scholars of theater, drama, French arts and literature, cultural studies, and intellectual history, as well as to those interested in the history of art and culture of the interwar era. Kimberly Jannarone shows that Artaud's work (particularly his famous 1938 manifesto, The Theater and Its Double) itself reveals two sets of doubles: one, a body of peculiarly persistent received interpretations from the American experimental theater and French post-structuralist readings of the 1960s and, two, a darker set of doubles brought to light through close historical examination-those of Artaud's contemporaries who, in the tumultuous, alienated, and pessimistic atmosphere enveloping much of Europe after World War I, denounced the degradation of civilization, yearned for cosmic purification, and called for an ecstatic loss of the self.Īrtaud and His Doubles will generate provocative new discussions about Artaud and fundamentally challenge the way we look at his work and ideas. Placing Artaud's works and rhetoric within the specific context of European political, theatrical, and intellectual history of the early twentieth century, the book reveals Artaud's affinities with a disturbing array of anti-intellectual and reactionary writers and artists whose ranks swelled catastrophically between the wars in Western Europe. Artaud and His Doubles is a radical re-thinking of one of the most well-known and influential theater artists and theorists of the twentieth century.
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