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For Artaud, poetry assumes a perpetual rebellious state, a constant erection of form in energy and movement. In this way, reality is grasped as something that is always in the act of appearing, continuously revealing itself (according to a progression akin to pólemos and Heraclitean fire), and the word, in its rhythm and literalness, becomes the space of this encounter-impact. Giorgia Bongiorno writes this in the introduction to the volume, having curated this selection of Artaud's poetry chronologically, aiming to account for the various stages of an activity that is absolutely not lesser than the French artist's theatrical and essayistic work, but rather integrated with it and with his life. The translation of texts of such an untranslatable nature was done by Emilio Tadini, in collaboration with his wife Antonia, shortly before his passing. It is a final testimony of the Milanese artist and writer who also left us a very personal portrait of Artaud, unfortunately left unfinished, which we present in the volume.
Buchkauf
Artaud the Momo - and Other Major Poetry, Antonin Artaud
- Sprache
- Erscheinungsdatum
- 2020
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- (Paperback)
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- Titel
- Artaud the Momo - and Other Major Poetry
- Sprache
- Englisch
- Autor*innen
- Antonin Artaud
- Verlag
- Diaphanes Verlag
- Erscheinungsdatum
- 2020
- Einband
- Paperback
- Seitenzahl
- 160
- ISBN10
- 3035802351
- ISBN13
- 9783035802351
- Reihe
- Schlagwörter
- Belletristik, Poesie
- Bewertung
- 4,2 von 5 Sternen
- Beschreibung
- For Artaud, poetry assumes a perpetual rebellious state, a constant erection of form in energy and movement. In this way, reality is grasped as something that is always in the act of appearing, continuously revealing itself (according to a progression akin to pólemos and Heraclitean fire), and the word, in its rhythm and literalness, becomes the space of this encounter-impact. Giorgia Bongiorno writes this in the introduction to the volume, having curated this selection of Artaud's poetry chronologically, aiming to account for the various stages of an activity that is absolutely not lesser than the French artist's theatrical and essayistic work, but rather integrated with it and with his life. The translation of texts of such an untranslatable nature was done by Emilio Tadini, in collaboration with his wife Antonia, shortly before his passing. It is a final testimony of the Milanese artist and writer who also left us a very personal portrait of Artaud, unfortunately left unfinished, which we present in the volume.