Showing posts with label Artaud. Show all posts
Showing posts with label Artaud. Show all posts

'Van Gogh:The Man Suicided by Society' by Antonin Artaud (1947)

Wheatfield with Crows, 1890, by Van Gogh (one of his last paintings)

1946, Dr. Gaston Ferdiere and Antonin Artaud at Rodez asylum


A selection from Van Gogh: The Man Suicided by Society by Antonin Artaud, 1947.





Note: the following selection draws upon both available English translations.


[work in progress]


One can speak of the good mental health of Van Gogh who, during his lifetime, cooked only one of his hands, and other than that did no more than cut off his left ear...
For it isn't man but the world that has become abnormal...

...present-day life goes on its old atmosphere of prurience, of anarchy, of disorder, of delirium, of dementia, of chronic lunacy, of bourgeois inertia, of psychic anomaly (for it is not man but the world which has become abnormal), of deliberate dishonesty and downright hypocrisy, of a mean contempt for everything that shows breeding, of the claim of an entire order based on the fulfillment of a primitive injustice, in short, of organized crime.
Things are bad because sick conscience now has a vital interest in not getting over its sickness.
So a sick society invented psychiatry to defend itself against the investigations of certain visionaries whose faculties of divination disturbed it.

...it is not a certain conformity of manners that the painting of van Gogh attacks, but rather the conformity of institutions themselves.

In comparison with the lucidity of van Gogh, which is a dynamic force, psychiatry is no better than a den of apes who are themselves obsessed and persecuted and who possess nothing to mitigate the most appalling states of anguish and human suffocation but a ridiculous terminology... .

Indeed, their is not a psychiatrist who is not a notorious erotomaniac.

And what is a genuine lunatic?
He is a man who prefers to go mad, in the social sense of the word, rather than forfeit a certain higher idea of human honour.

For a lunatic is a man that society does not wish to hear but wants to prevent from uttering certain unbearable truths...

[alt trans: And what is an authentic madman? It is a man who preferred to become mad, in the socially accepted sense of the word, rather than forfeit a certain superior idea of human honor. So society has strangled in its asylums all those it wanted to get rid of or protect itself from, because they refused to become its accomplices in certain great nastinesses. For a madman is also a man whom society did not want to hear and whom it wanted to prevent from uttering certain intolerable truths.]


But, in this case, confinement is not its only weapon, and the concerted gathering of men has other means of overcoming the wills it wants to break.


Aside from the trifling witchcraft of country sorcerers, there are the great sessions of world-wide spell-casting in which all alerted consciousness participates periodically.
This is why during a war, a revolution, a hatching social upheaval, the collective conscience is questioned and questions itself, and also voices its own judgement.
This consciousness may also be aroused and called forth spontaneously in connection with certain particularly striking individual cases.
That is why there was a collective spell cast on Baudelaire, Edgar Allen Poe, Gerard de Nerval, Nietzsche, Kierkegaard, Holderlin and Coleridge.
There was a spell cast on Van Gogh also. 

Thus strange forces are aroused and brought up into the astral vault, into that kind of dark dome which constitutes, over all human respiration, the venomous hostility of the evil spirit of the majority of people.
It is thus that the few rare lucid well-disposed people who have had to struggle on the earth find themselves at certain hours of the day or night in the throws of real and waking nightmares, surrounded by formidable suction, the formidable tentacular oppression of a kind of civic magic which will soon be seen appearing openly in social behavior.



Post Scriptum





It is... shamefully impossible to be a pyschiatrist without bearing the stigma of the most indisputable insanity at the same time...

[alt. It is almost impossible to be a doctor and an honest man, but it is obscenely impossible to be a psychiatrist without at the same time bearing the stamp of the most incontestable madness: that of being unable to resist that old atavistic reflex of the mass of humanity, which makes any man of science who is absorbed by this mass a kind of natural and inborn enemy of all genius.]


 There is in every madman a misunderstood genius whose idea, shining in his head, frightened people, and for whom delirium was the only solution to the strangulation that life had prepared for him.















'The Theatre and its Double' by Antonin Artaud (1938)



A selection from 'The Theatre and its Double' by Antonin Artaud (1938).

[Incomplete]





The theater seemed to me a sort of frozen world.


The contemporary theatre is decadent because it has ... broken away from gravity, from effects that are immediate and painful- in a word, from Danger. ...Because it has broken away from the spirit of profound anarchy which is at the root of all poetry.
How does it happen that in the theatre... everything specifically theatrical, i.e., everything that cannot be expressed in speech, in words, or, if you prefer, everything that is not contained in the dialogue... is left in the background?"
...how does it happen that occidental theatre does not see theater under any other aspect than as a theatre of dialogue? Dialogue- a thing written and spoken- does not belong specifically to the stage, it belongs to books... I say that the stage is a concrete physical place which asks to be filled, and to be given its own concrete language to speak.
I saw that this concrete language, intended for the senses and independent of speech, has first to satisfy the senses, that there is a poetry of the senses as there is a poetry of language, and that this concrete physical language to which I refer is truly theatrical only to the degree that the thoughts it expresses are beyond the reach of the spoken word.
Everything that occupies the stage, everything that can be manifested and expressed materially on a stage and that is addressed first of all to the senses instead of being addressed primarily to the mind as is the language of words... creating beneath language a subterranean current of impressions, correspondences, and analogies.
...to the degree that this language derives from the stage, draws its efficacy from its spontaneous creation on the stage, to the degree that it struggles directly with the stage without passing through words... it is the mise en scene that is the theatre much more than the written and spoken play.
In any case, and I hasten to say it at once, a theatre which subordinates the mise en scene and production i.e., everything in itself that is specifically theatrical, to the text, is a theatre of idiots, madmen, inverts, grammarians, grocers, antipoets and positivits, i.e.., occidentals.