Cruelty and Desire in the Modern Theater: Antonin Artaud, by Laurens De Vos

By Laurens De Vos

Departing from a clean examine the tips of Antonin Artaud, this e-book offers a radical research of ways either Sarah Kane and Samuel Beckett are indebted to his legacy. In juxtaposing those playwrights, De Vos minutely issues out how either of their personal method fight with coming to phrases with Artaud. A key proposal in Lacanian psychoanalytic theories, wish lies on the root of the Theatre of Cruelty; Kane and Beckett end up that wish and cruelty are inextricably associated with each other, yet that they seem in considerably varied disguises. hoping on Kane and Beckett, this booklet not just sheds a mild at the distinctive intentions in the back of Artaud's venture, it additionally maps out the structural parallels and dichotomies among the Theatre of Cruelty and the literary style of tragedy. instantly after the prime of Sarah Kane's Blasted in 1995, a few reviewers made a hyperlink with Antonin Artaud's Theatre of Cruelty. those parallels, in spite of the fact that, have been exclusively in response to the abundance of actual violence on degree. in accordance with those assertions, this ebook strains minutely Artaud's legacy for later generations. employing Jacques Lacan's psychoanalytical rules as a theoretical framework, De Vos defines Artaud's undertaking no longer loads by way of blood and goriness, yet relatively as a theater of ardour, revolving round notions as hope, love and the subjectile, an idea that was once drawn awareness to by means of Derrida. additionally, the assumption of the scapegoat delineated by way of Rene Girard offers a leg-up to elucidate the intrinsic parallels in addition to divergences among the Theatre of Cruelty and tragedy, whereas additionally Lacan's research of Antigone is being checked out. Phaedra's Love, Cleansed and 4.48 Psychosis are broadly handled during this learn, and indicate the improvement Kane went via in her brief yet while lengthy trajectory. The 3rd half on Beckett focuses totally on Krapp's final Tape and never I, and both so calls in Lacan to appreciate self-alienation and self-conceptualization in its relation to Artaud's Theatre of Cruelty. This booklet might be of use to a person drawn to modern theater or within the box of psychoanalysis made appropriate within the arts.

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Thinking through Africa’s place in the Black Atlantic necessarily muddles these polarities into an even headier mix, and by following the bacchanal currents that music stirs up, a new optic on the modern emerges. Neither peripheral nor alternative, the forms of modernism examined here are collaboratively worked out among black subjects on the African continent and abroad, subjects who share interrelated legacies of exclusion from the supposed ur-modernity of the West, as well as virtuosic repertoires of (re)-invented traditions that mark their modernist cultural productions.

The question of how to train appropriate “helpmates” for male elites spurred lively debate. Indeed, educational and professional opportunities for women were at the crux of public discourse about what becoming “modern” meant for black South Africans. Nor were female composers unheard of: the world-renowned composer and author John Knox Bokwe included a hymn with words and music by Hilda Rubusana in the 1915 edition of Amaculo ase Lovedale (Lovedale Music), as well as songs with lyrics by Ester Kale and Letty Evelyna Bokwe.

I discuss how Ghanaian poets Kofi Anyidoho and Kwadwo Opoku-Agyemang engage with African American heritage tourism to work through traumatic legacies of slavery from an African perspective. The seven-year sojourn of Kamau Brathwaite in Ghana makes his poetic reflections as a diasporic subject an important point of comparison. I argue that metaphors of echo and other sound effects allow for both ethical relation and disaffection. The vision of diaspora articulated by these three poets is compared with two other bodies of work.

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