Artaud's Scream

In the later Artaud's perception of existence as perpetual cosmological combat, one of his principal weapons is the scream. His deployment of this scream matures in the 1946-8 radio recordings, especially in To Have Done with the Judgement of God , which he saw as a successful 'mini-model&...

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Bibliographic Details
Published in:Deleuze & Guattari Studies 2016-05, Vol.10 (2), p.140-161
Main Author: Murphy, Jay
Format: Article
Language:English
Subjects:
Artaud, Antonin (1896-1948)
Avant-garde
Deleuze, Gilles
Performance art
Philosophy and Religion
Psychoanalysis
Radio
Radio broadcasting
Sound
Theater
Weapons
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Summary:In the later Artaud's perception of existence as perpetual cosmological combat, one of his principal weapons is the scream. His deployment of this scream matures in the 1946-8 radio recordings, especially in To Have Done with the Judgement of God , which he saw as a successful 'mini-model' of the Theatre of Cruelty. Though often viewed as an ultimate failure, Artaud's screams, allied within a range of other ecstatic practices, are far more successful than his typically psychoanalytic critics would concede. Inseparable from his projected 'body without organs', Artaud's scream attempts an unanswerable, unrepeatable gesture, moving beyond any engagement with an audience.
ISSN:1750-2241
2398-9777
1755-1684
2398-9785
DOI:10.3366/dls.2016.0219