Antonin Artaud, with his Theatre of Cruelty, proposes a return to the origin of man and culture where it is clear the relationship between life and art. The art and life should not be separated because they form a unit. Artaud explains this unit through the total image of the hieroglyph man: a body that is not longer a human body defined by their physiological functions, but a body ready to become a sign, to become a communicative body at all. The theatre is the place where the hieroglyph man can become a sign and contaminate the public. The spectator is touched and overwhelmed by the signs and images of the theatre, so he can develop his proper thought. The thinking goes through the body, it is carnal. On stage Artaud therefore expresses its rejection of dualism body / soul. The images of the theatre become a way of thinking. Thinking is concrete and not abstract, carnal and not intellectual. The great values reversal is precisely the affirmation of the metaphysics of the concrete idea in opposition to the idea of abstract thinking, typically philosophical. The concrete image becomes thinking.
(Română) DE LA RELATION IMAGE/PENSÉE À L’IDENTITÉ DE LA PENSÉE VISUELLE
Last Updated on: November 11th, 2015 at 10:35 P, by admin