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Artaud, Genet, Shange: The absence o...

University of Alberta (Canada).

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Artaud, Genet, Shange: The absence of the theatre of cruelty.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Artaud, Genet, Shange: The absence of the theatre of cruelty./
Author:	Carney, Sean Craig.
Description:	125 p.
Notes:	Adviser: Debby Thompson.
Contained By:	Masters Abstracts International33-04.
Subject:	Literature, American. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=MM94850
ISBN:	9780315948501

Artaud, Genet, Shange: The absence of the theatre of cruelty.
Carney, Sean Craig.

Artaud, Genet, Shange: The absence of the theatre of cruelty. - 125 p.

Adviser: Debby Thompson.

Thesis (M.A.)--University of Alberta (Canada), 1994.

Antonin Artaud's words, engaged in a performative critique of the restraining complicity of thought and language, fail in their attempt to resist signification and "meaning." The dramatic performance in which these words try to avoid signification creates, within Artaud's unique manipulation of grammatological forms, a figurative image of the self attempting to escape representative existence. The purposely failed escape may be read as an enactment of the necessity for individuals to resist, within a socio-political sphere, repressive forms of representation which become imposed on ontology. Within the sphere of psychoanalysis, language plays an especial role in the formation of thought and perceptions within practical existence. Artaud's critique of language may be read as a move toward radical political action: real resistance to fascistic forms of social control and the writing of ontology by oppressive means. Jean Genet's The Screens and Ntozake Shange's spell #7 move the performative need for resistance to signification out of the realm of the written text and onto the stage, where existence is portrayed as a Theatre of Representation, and the need for individuals to resist representational impositions of ontology is played out within overtly dramatic forms. If life is a Theatre of Representation, then what is represented is not a stable, fixed parameter, but is rather unfixed and malleable. Shange's work especially stands out as an example of how representation, in this case her theatre piece, can be used to fulfill the desire to "escape" certain significations by appropriating signifiers and rewriting their meanings. In this manner drama is not engaged in "telling a story," presenting another representation, but rather is using representation as a tool in the manipulation and political rewriting of signification.

ISBN: 9780315948501Subjects--Topical Terms:

1017657
Literature, American.

Artaud, Genet, Shange: The absence of the theatre of cruelty.
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020 $a 9780315948501
035 $a (UMI)AAIMM94850
035 $a AAIMM94850
040 $a UMI $c UMI
100 1 $a Carney, Sean Craig. $3 1025476
245 1 0 $a Artaud, Genet, Shange: The absence of the theatre of cruelty.
300 $a 125 p.
500 $a Adviser: Debby Thompson.
500 $a Source: Masters Abstracts International, Volume: 33-04, page: 1034.
502 $a Thesis (M.A.)--University of Alberta (Canada), 1994.
520 $a Antonin Artaud's words, engaged in a performative critique of the restraining complicity of thought and language, fail in their attempt to resist signification and "meaning." The dramatic performance in which these words try to avoid signification creates, within Artaud's unique manipulation of grammatological forms, a figurative image of the self attempting to escape representative existence. The purposely failed escape may be read as an enactment of the necessity for individuals to resist, within a socio-political sphere, repressive forms of representation which become imposed on ontology. Within the sphere of psychoanalysis, language plays an especial role in the formation of thought and perceptions within practical existence. Artaud's critique of language may be read as a move toward radical political action: real resistance to fascistic forms of social control and the writing of ontology by oppressive means. Jean Genet's The Screens and Ntozake Shange's spell #7 move the performative need for resistance to signification out of the realm of the written text and onto the stage, where existence is portrayed as a Theatre of Representation, and the need for individuals to resist representational impositions of ontology is played out within overtly dramatic forms. If life is a Theatre of Representation, then what is represented is not a stable, fixed parameter, but is rather unfixed and malleable. Shange's work especially stands out as an example of how representation, in this case her theatre piece, can be used to fulfill the desire to "escape" certain significations by appropriating signifiers and rewriting their meanings. In this manner drama is not engaged in "telling a story," presenting another representation, but rather is using representation as a tool in the manipulation and political rewriting of signification.
590 $a School code: 0351.
650 4 $a Literature, American. $3 1017657
650 4 $a Literature, Modern. $3 624011
650 4 $a Literature, Romance. $3 1019014
650 4 $a Theater. $3 522973
690 $a 0298
690 $a 0313
690 $a 0465
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710 2 $a University of Alberta (Canada). $3 626651
773 0 $t Masters Abstracts International $g 33-04.
790 $a 0351
790 1 0 $a Thompson, Debby, $e advisor
791 $a M.A.
792 $a 1994
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=MM94850