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Chapter 14 - Performance and Installation Art

Re-turning to Artaud through Christian Boltanski

Published online by Cambridge University Press:  22 October 2024

By
Carl Lavery  and
Rezvan Zandieh
Edited by
Clare Finburgh Delijani
With
Christian Biet
Clare Finburgh Delijani
Affiliation:
Goldsmiths, University of London
Christian Biet
Affiliation:
Université Paris Nanterre
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Summary

In Carl Lavery and Rezvan Zandieh’s chapter Artaud is afforded further examination. By adopting a hyphenated notion of a ‘re-turn’, Lavery and Zandieh challenge a historiography that would describe Artaud’s impact as being on the medium or discipline of theatre alone. Their ‘re-turn’ is not predicated on restoring an originary Artaud, nor does it aim to provide yet another reading or interpretation of his artistic work. By proposing a particular mode of arranging bodies and objects in time and space, Artaud’s theatricality overspills its disciplinary enclosure and informs other artforms. They posit Artaud as a performance theorist whose ideas allow for a unique take on the indeterminate borderline existing between theatre, conceptualism and installation art. To investigate that liminal fold, they place Artaud in dialogue with artist Christian Boltanski, whose relationship with theatre and performance they tease out.

Keywords

performance artconceptual artinstallationtheatre of crueltyaffectshistoriographyAntonin ArtaudChristian Boltanski
Type
Chapter
Information
A New History of Theatre in France , pp. 276 - 293
Publisher: Cambridge University Press
Print publication year: 2024

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References

Recommended Reading

Scheer, Edward, ed., Antonin Artaud, A Critical Reader (2004). This book provides an excellent critical introduction to Artaud, including selections from some of the best philosophical and theoretical readings of Artaud’s work.Google Scholar
De Simone, Cristina, Proféractions! Poésie en action à Paris (1946–1969) (2018). This book highlights Artaud’s direct influence on the development of post-World War Two French performance poetry and complicates the assumption that Artaudian cruelty is consonant with an abandonment of language.Google Scholar
Bradnock, Lucy, No More Masterpieces: Modern Art after Artaud (2021). This book counters readings that accuse Artaud of fascism and colonialism by showing the progressive political and theatrical impact of his work on the American avant-garde in the 1950s and 1960s and especially on feminist artists.Google Scholar

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