Abstract
This project conceptualizes a totality of the Artaudian phenomenon as a spatial affecting event enjoined by the ancient Greek chorus, where an imagined poetic relation, between these two vocalized and moving bodies as pluralities, is manifest as Artaudian choral voice. Here is where connections between Artaud, the ancient Greek tragedy, and Nietzsche’s Dionysian serve as portals back to the originary theatre. In the historical interstices, along the borderlands of philosophy, social thought, and theatre and art theory, is where the Artaudian-choral voice is carried into an afterlife as found in such thinkers as Jacques Derrida, Michel Foucault, Gilles Deleuze, and Julia Kristeva; and such artists and writers as Nancy Spero, Jerzy Grotowski, and Peter Brook. Furthermore, what is revealed in this project is that which has been obscured, that is, masked from its effects upon the works of Black Mountain College faculty, such as David Tutor and John Cage; in the Lettrist and their noteworthy path to the International Situationists; in the moments of the Living Theater and its carryover toward Allan Kaprow and the Happenings. These sonorous and gestural effects as afterlife are reverberating echoes where Artaud’s singularity: his failures, tragedies, theories, and theatrical impossibilities, are transformed into a ‘voice’ as a choral bodily paradigm revealing much of the idiosyncratic aspects of the inseparability of life and art, that is to say, his oeuvre as an effectuating specter-like existence in the fields of philosophy, literature, film, psychoanalysis, and participatory art.
Presenters
Hazel Antaramian HofmanAdjunct Instructor, Fine, Performing, Communication Arts, Fresno City College (State Center Community College District-SCCCD), California, United States
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
Antonin Artaud, Ancient Greek Chorus, Participatory Arts, Artaudian Afterlife
