scholarly journals AS VANGUARDAS NO TEATRO VISUAL DE ROBERT WILSON

2017 ◽  
Vol 7 (1) ◽  
pp. 69
Author(s):  
Helena Cecilia Carnieri Staehler
Keyword(s):  
Gertrude Stein ◽  
Antonin Artaud ◽  
Robert Wilson

Na obra do diretor teatral Robert Wilson percebe-se a afluência de inúmeras correntes artísticas tanto das artes cênicas quanto da literatura, pintura, escultura e do cinema, num diálogo intermidiático constante. Destacam-se relações e homenagens aos mestres da vanguarda histórica. O ensaio traz um breve panorama da obra e/ou pensamento de criadores como Antonin Artaud, Adolphe Appia e Gertrude Stein, artistas que formaram, em sua modernidade, as bases do que seria aprofundado no contemporâneo. Robert Wilson, a vanguarda dos anos 1960, abraça essas referências literárias e muitas outras das áreas visuais e sonoras para seu caldo intermidiático, criando produções inovadoras. Neste texto, mais do que abordar a criação de Wilson, refletiremos sobre seus predecessores.

scholarly journals Persona, skènè, drama : la grande transformation du théâtre et de la sociologie

2013 ◽  
pp. 97-114 ◽  
Author(s):  
Jean-François Côté
Keyword(s):  
Gertrude Stein ◽  
Bertolt Brecht ◽  
Antonin Artaud ◽  
Collège De Sociologie

Cet article présente les rapports établis entre trois écoles de sociologie et trois figures de l’avant-garde théâtrale contemporaine (Gertrude Stein et l’École de Chicago, Antonin Artaud et le Collège de sociologie, et Bertolt Brecht et l’École de Francfort). Il présente ces rapports en fonction des transformations affectant les catégories de « persona », de « skéné » et de « drama », héritées de la tradition théâtrale, mais qui ont toutes subi des redéfinitions majeures au sein de l’expérimentation théâtrale, ainsi que dans l’analyse sociologique. À travers le pragmatisme, la psychanalyse et le marxisme, ces catégories ont été respectivement redéfinies en fonction d’aires de la pratique et de la (re)présentation contemporaine, qui ont exposé la personne, le corps et l’action selon de nouvelles dispositions. Ces transformations sont à situer dans la révision des divisions catégoriques inhérentes à la philosophie hégélienne portant sur l’âme, la conscience et l’esprit, ainsi que dans le passage de la société bourgeoise moderne à la société de masse postmoderne.

scholarly journals Letter to a man: Nijinsky e Baryshnikov, a dança à l’envers na paisagem ótico-sonora de Robert Wilson

Sala Preta ◽  
2015 ◽  
Vol 15 (2) ◽  
pp. 149
Author(s):  
Martha Ribeiro
Keyword(s):  
Antonin Artaud ◽  
Robert Wilson

<p>Ao analisar o espetáculo Letter to a man, de Robert Wilson, sobre os diários de Nijinsky, investiga-se a paisagem ótico-sonora do encenador e a dança fluida, sem peso, do ator e performer Mikhail Baryshnikov, a partir dos conceitos “corpo sem órgãos” e “dança às avessas” de Antonin Artaud; especialmente em relação aos seus últimos escritos, em Rodez. A cena sensorial de Wilson, que propositalmente abandona qualquer intenção comunicativa entre os canais visuais e sonoros, reflete de forma potente o pensamento artaudiano, sendo muito mais do que um teatro de imagem, como tem se referido a crítica até agora, e revela, de forma desconcertante, o parentesco entre Nijinsky e Artaud.</p>

Readies for Bob Brown's Machine

2020 ◽  
Author(s):  
Robert Carlton Brown
Keyword(s):  
Text Messaging ◽  
Gertrude Stein ◽  
Ezra Pound ◽  
William Carlos Williams ◽  
Public Attention ◽  
Avant Garde ◽  
Internet Media ◽  
Facsimile Edition ◽  
Viewing Screen ◽  
Writing Technology

This is the much-anticipated new edition of the important volume of avant-garde writing, Readies for Bob Brown's Machine. The original collection of Readies was published by Brown’s Roving Eye Press in 1931. Despite including works by leading modernist writers including Gertrude Stein, Ezra Pound, William Carlos Williams, Kay Boyle, F.T. Marinetti, and 35 other writers and artists, this volume has never been re-issued. Like the ‘talkies’ in cinema, Brown’s machine and the ‘readies’ medium he created for it proposed to revolutionise reading with technology by scrolling texts across a viewing screen. Apart from its importance to modernism, Brown’s research on reading seems remarkably prescient in light of text messaging, e-books, and internet media ecologies. Brown’s designs for a modernist style of reading, which emphasised speed, movement, and immediacy, required a complete re-design of reading and writing technology. Complete with a new Preface by Eric White and a new Introduction and a separate chapter on the contributors by Craig Saper, this critical facsimile edition restores to public attention the extraordinary experiments of writing readies for a reading machine.

: The Film Criticism of Otis Ferguson . Robert Wilson.

1973 ◽  
Vol 26 (4) ◽  
pp. 30-31
Author(s):  
Ernest Callenbach
Keyword(s):  
Film Criticism ◽  
Robert Wilson

Antonin Artaud

1966 ◽  
Vol 23 (1) ◽  
pp. 49-49
Author(s):  
Dora M. Pettinella
Keyword(s):  
Antonin Artaud

Musical and Literary Portraiture

2017 ◽  
Author(s):  
Joshua S. Walden
Keyword(s):  
Crucial Role ◽  
Gertrude Stein ◽  
Literary Portraits ◽  
The Relationship ◽  
Poetry And Music

The first chapter examines musical portraits of literary figures. It first explores Virgil Thomson’s multiple works in the genre including his portrait of Gertrude Stein, to interpret the influence of Stein’s modernist literary portraits on Thomson’s compositions. It then turns to Pierre Boulez’s orchestral portrait Pli selon pli: portrait de Mallarmé. Analyzing Boulez’s incorporation of elements of Stéphane Mallarmé’s poetry as well as the complex and idiosyncratic theories regarding the relationship between poetry and music that Mallarmé developed in his essays. Through the discussion of these portraits, the chapter addresses the crucial role of language in the musical representation of identity.

Fin

2017 ◽  
Author(s):  
Cleo Hanaway-Oakley
Keyword(s):  
Gertrude Stein ◽  
Silent Film ◽  
Film Criticism ◽  
Gestalt Theory ◽  
Finnegans Wake ◽  
Dorothy Richardson ◽  
Sound Film ◽  
Final Work

This concluding chapter briefly turns to Joyce’s final work, Finnegans Wake (1939). Joyce’s cacophonous ‘book of the dark’, with its many references to cinema, forms the centre of a discussion of the emergence of sound film. The importance of touch in both silent and sound film is restated through reference to the film criticism of Bryher, Dorothy Richardson, and Gertrude Stein, and Chaplin’s City Lights (1931), a late silent film focusing on Chaplin’s relationship with a blind flower-seller. The complex interrelationship between sound and image in both film and Finnegans Wake is contemplated through gestalt theory and multi-perspectival ‘figure–ground images’. The chapter concludes by returning to Ulysses, to consider the never-produced Reisman–Zukofsky screenplay and the ways in which the film would, and would not, have affirmed a phenomenological reading of Joyce’s text.

scholarly journals Radically Recalcitrant Radio

Resonance ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 6-14
Author(s):  
Allen S. Weiss
Keyword(s):  
French Language ◽  
Poetry And Poetics ◽  
Antonin Artaud

What would it mean to consider the last works of Antonin Artaud, including his major radio piece, To Have Done With the Judgment of God—written after his return to language following years of aphasia during his incarceration in the psychiatric asylum of Rodez and upon his return to Paris just before his death—as poetry? Based upon a veritable rhetoric of repulsion and abjection, effecting an obsessive resistance to readability, Artaud utilized numerous tactics to reject the reader: unmentionable blasphemy, putrid scatology, unintelligible glossolalia, hideous violence, abhorrent politics, obscene curses, unfathomable contradictions, bewildering lists, inexorable negations, disorienting syntax, unsettling non sequiturs, undefinable neologisms, uncanny repetitions. Were these writings to be inserted into the French poetic canon, they would necessitate a radical reconsideration of poetry and poetics, indeed of the French language itself, based upon the nihilistic powers of performance and performativity.

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