Antonin Artaud Boeken

Following his release from the Rodez asylum, Antonin Artaud decided he wanted his new work to connect with a vast public audience, and he chose to record radio broadcasts in order to carry through that aim. That determination led him to his most experimental and incendiary project, To Have Done with the Judgement of God , 1947-48, in which he attempted to create a new language of texts, screams, and a language designed to be heard by millions, aimed, as Artaud said, for “road-menders.” In the broadcast, he interrogated corporeality and introduced the idea of the “body without organs,” crucial to the later work of Deleuze and Guattari. The broadcast, commissioned by the French national radio station, was banned shortly before its planned transmission, much to Artaud’s fury. This volume collects all of the texts for To Have Done with the Judgement of God , together with several of the letters Artaud wrote to friends and enemies in the short period between his work’s censorship and his death. Also included is the text of an earlier broadcast from 1946, Madness and Black Magic , written as a manifesto prefiguring his subsequent broadcast. Clayton Eshleman’s extraordinary translations of the broadcasts activate these works in their extreme provocation.

Artaud remains one of the significant and influential theorists of modern theatre.--Gerald Rabkin, Rutgers University

After publishing a manifesto prophecy about the catastrophic immediate-future entitled The New Revelations of Being , Antonin Artaud abruptly left Paris and travelled to Ireland, remaining there for six weeks and existing without money. On his return, he spent nine years in lunatic asylums, including the entire span of the Second World War. During that journey to Ireland—on which he accumulated signs of his forthcoming apocalypse, and planned his own role in it as ‘THE REVEALED ONE’—he wrote letters to friends in Paris. Antonin Artaud’s 1937 apocalyptic journey to Ireland and his writings from that journey form an extraordinary moment of accumulating disintegration and tenacious creativity in his work. With an afterword and notes by the book’s translator/editor Stephen Barber.

This is the first new English language anthology of Artaud's writing in nearly twenty years, and reflects an increased interest in his late work (a show of Artaud's visual art from this period was on view at MOMA throughout 19961). Clayton Eshleman's translations have won widespread acclaim, including a National Book Award. Now in its second printing.

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Rooted in Antonin Artaud's nine years in mental asylums, this collection features writings and sketches from 1946 to 1948 that reveal his battle with schizophrenia and haunting visions. The first eleven notebooks present fragmented thoughts and striking illustrations, showcasing his artistic evolution. The twelfth notebook shifts focus to a profound exploration of the loss of magic to the demonic, culminating in the text that inspired the book's title. Artaud's influence on the avant-garde persists, underscoring his enduring significance in literature and art.

A collection of essays that details the author's radical theories on drama, which he saw as being stifled by conservatism and lack of experimentation. It contains the famous manifestos of the 'Theatre of Cruelty', analyses the underlying impulses of performance, and provides some suggestions on a physical training method for actors and actresses.

The narrative follows Antonin Artaud's transformative journey to Mexico in 1936, exploring vibrant urban life in Mexico City and the serene isolation of the Sierra Tarahumara. Over ten months, Artaud immerses himself in the culture and spirituality of the Tarahumara people, experiencing a significant shift in his artistic and personal perspective. This journey serves as a pivotal moment in his life, highlighting the intersection of art, nature, and indigenous wisdom.

Artaud worked on his book "Interjections" from late 1946 to early 1947 while at a psychiatric hospital, expressing intense and obscene thoughts. Initially rejected by his publisher, it was published posthumously in 1978. This volume presents the first complete English translation, including contributions from various translators.