Description
Antonin ARTAUD (1896-1948). 2 autograph manuscripts; 8 and 6pages in-fol. on 7 leaves (torn then reattached to gummed paper); transcription attached. Réflexions sur le théâtre balinais, working drafts, partly crossed out, for Le Théâtre et son double (Gallimard, 1938). "Theater of pure staging. Idea of the mystical, the religious. Men reduced to schematics. Their gestures fall truly and precisely to this wooden, caisson-like music. They are reminiscent of automatons made of hollow wood. [...] Nothing gives the idea of the bare, the pure, the essence. Everything is of absolute, metaphysical necessity [...] Mimicry of spiritual gestures that scandalize, prune, fix, stop, discard and subdivide feelings, states of mind, metaphysical points [...] This theater, which makes our theater crude, where feelings need to be named, directly experienced and acted out, feelings that are not schemas of feelings, abstract lineaments of ideas [...] This theater, on the other hand, is a theater that is not a theater.] This theater, on the other hand, is the triumph of pure staging, because for us, to whom this language is closed, and where gestures, intonations, cries, modulations and attitudes act only in their quintessence, it is certain that what acts on us is not the thing said, but the way it is said to us"... Etc. "Theater would have nothing to do with, where the intellectual subdivisions of a theme are reduced to nothing, and where that intellectual space of air, that psychic play which ordinarily exists between the members of a sentence, is here traced in the scenic air between the members, the air and the perspectives of a certain number of cries, colors and movements. Here, the director, working with the means of a director, supplants the author in all those parts where, in our Western language, we believe we must distinguish a certain psychic content from its material embodiment, or if we prefer, the conception of the realization. But in the productions of Balinese theater, the mind has the feeling that conception has first come up against gestures, has taken root in the midst of a whole fermentation of visual or sound images, thought of as in a pure state"... Etc. Former Anie Besnard collection. Œuvres complètes, tome IV, p.235 et 231.
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Antonin ARTAUD (1896-1948). 2 autograph manuscripts; 8 and 6pages in-fol. on 7 leaves (torn then reattached to gummed paper); transcription attached. Réflexions sur le théâtre balinais, working drafts, partly crossed out, for Le Théâtre et son double (Gallimard, 1938). "Theater of pure staging. Idea of the mystical, the religious. Men reduced to schematics. Their gestures fall truly and precisely to this wooden, caisson-like music. They are reminiscent of automatons made of hollow wood. [...] Nothing gives the idea of the bare, the pure, the essence. Everything is of absolute, metaphysical necessity [...] Mimicry of spiritual gestures that scandalize, prune, fix, stop, discard and subdivide feelings, states of mind, metaphysical points [...] This theater, which makes our theater crude, where feelings need to be named, directly experienced and acted out, feelings that are not schemas of feelings, abstract lineaments of ideas [...] This theater, on the other hand, is a theater that is not a theater.] This theater, on the other hand, is the triumph of pure staging, because for us, to whom this language is closed, and where gestures, intonations, cries, modulations and attitudes act only in their quintessence, it is certain that what acts on us is not the thing said, but the way it is said to us"... Etc. "Theater would have nothing to do with, where the intellectual subdivisions of a theme are reduced to nothing, and where that intellectual space of air, that psychic play which ordinarily exists between the members of a sentence, is here traced in the scenic air between the members, the air and the perspectives of a certain number of cries, colors and movements. Here, the director, working with the means of a director, supplants the author in all those parts where, in our Western language, we believe we must distinguish a certain psychic content from its material embodiment, or if we prefer, the conception of the realization. But in the productions of Balinese theater, the mind has the feeling that conception has first come up against gestures, has taken root in the midst of a whole fermentation of visual or sound images, thought of as in a pure state"... Etc. Former Anie Besnard collection. Œuvres complètes, tome IV, p.235 et 231.
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