Beyond the eras a dialogue seems to have been established between Bruegel the Elder (1525-1569) and Antonin Artaud (1896-1948). The poet’s wonder at the « painting of the North », both realistic and emblematic, reveals his deepest ideal as an artist : painting, a « magical » operation, deploys a power of expression based on signs and no longer on words, which the theatre is also called upon to seize. The juxtaposition of Bruegel’s Triumph of Death and a famous (...) drawing by Artaud, Le Théâtre de la cruauté [The Theatre of Cruelty], highlights the striking convergences between the two artists. Through their pictorial works, both of them renew over the centuries the funerary and mythical symbolism of death, inherited from the macabre scenes of medieval paintings, but also from ancient times. Studying the references to theatrical iconography in Bruegel’s painting, where carnival and crudity of death reinforce each other, allows us to deepen the meaning of these resonances. For the two artists, form and poetic momentum meet so that representation, as a structure common to painting and theatre, fixes a moment of the world, while animating that moment to infinity, thanks to signs conceived as « true hieroglyphs » (Artaud), a problem that Michel Foucault associated with the strongest truth that the experience of madness carries. (shrink)

The article is devoted to the experience of postmodern representation of the metaphysics of corporeality. The meaning of A. Artaud’s “Theatre of Cruelty” is shown as a living act of ontologization of the body through the pain phenomenon. The game of mercantile and thinking participant in the action is distinguished. The purpose of scientific research: to distinguish between psychological and metaphysical experiences as those that determine the bodily and carnal goals of the participants; accordingly, to show the actions (...) of selfish and selfless roles with their ability to pass or block pain. Objectives of the research: to investigate the mechanisms of postmodern understanding of the metaphysics of the body through A. Artaud’s experience; to present the sphere of the Theater of Cruelty as the destiny of mankind to be a participant in the horrible and to be able to sympathize with it; to highlight the game of mercantile and selfless participant in ambiguous actions; to emphasize pain as a criterion of ontologizing the body; to show the places of the Theater of Cruelty in action on living examples. The scientific novelty lies in the view of the metaphysics of corporeality through the Theater of Cruelty and existential pain. Being a man of postmodern thinking, A. Artaud considers metaphysics in action and shows corporeality by a joint action, which is an event. (shrink)

This article begins by arguing that the ‘madness’ of Antonin Artaud is either fetishised or resisted, depending on the disciplinary angle from which one works. It proposes an alternative approach to the study of Artaud, which might avoid such pitfalls by reading Artaud’s work as performative philosophy or a philosophy of performance. The approach is defined by the principle of ‘working with’, rather than working on, a literary or philosophical figure. The second part of the article works, or philosophises, with (...) Artaud, reading his work on the ‘Theatre of Cruelty’ alongside Immanuel Kant’s work on judgment from the third Critique. It explores the Kantian distinction between determining and reflective judgment, extending reflective judgment into what I call anarchic reflection. To do so, the article elucidates the conceptual relation between actuality, entropy, an-archy, cruelty and sublimity, defining anarchic reflection as an unintentional and/or intentional crisis of the judgment or krisis of Form that opens the possibility of its transformation. (shrink)

Machine generated contents note: -- List of IllustrationsAcknowledgementsIntroductionImmanent authorship: From the Living Theatre to Cage and Goat IslandDisorganizing language, voicing minority: From Artaud to Carmelo Bene, Robert Wilson & Georges LavaudantImmanent imitations, animal affects: From Hijikata Tatsumi to Marcus CoatesPaying attention, participating in the whole: Allan Kaprow alongside Lygia ClarkEthical durations, opening to other times: Returning to Goat Island with WilsonIn-Conclusion: What 'good' is immanent theatre? Immanence as an ethico-aesthetic valueCodaBibliographyIndex.

The text treats the theme of cruelty starting from how it appears in the everyday dominant ideology. If we want to feel the pulse of our modern ideological landscape, we cannot ignore the fact that it has recently been severely shaken by the Russian aggression against Ukraine. The war in Ukraine has repeatedly been called cruel, and cruelty in general is today unanimously seen as something reprehensible and repulsive. But the same is true of torture, which, although in (...) principle prosecuted, is carried out in secret. And if every war is cruel, what does the statement “the war in Ukraine is cruel” mean? In what contexts does it fit? The text explores this question on several levels, beginning with modern understandings of war and cruelty, moving to the broader historical context in which the statement is made, and finally asking whether it means that we still have one foot in the 20th century in some sense. Following Badiou’s work _The Century_, which emphasises the role of the passion of the real, war (which is intended to end all wars), and cruelty in the twentieth century, this statement also means that the twentieth century is not (yet) over in a sense, and that this century may be settling accounts with itself (again) with the war in Ukraine. (shrink)

Can we make progress exploring consciousness? Or is it forever beyond human reach? In science we never know the ultimate outcome of the journey. We can only take whatever steps our current knowledge affords. This paper explores today's evidence from the viewpoint of Global Workspace theory. First, we ask what kind of evidence has the most direct bearing on the question. The answer given here is ‘contrastive analysis’ -- a set of paired comparisons between similar conscious and unconscious processes. This (...) body of evidence is already quite large, and constrains any possible theory . Because it involves both conscious and unconscious events, it deals directly with our own subjective experience, as anyone can tell by trying the demonstrations in this article. (shrink)

This book provides both a historical analysis of the philosophical problem of individuation, and a new trajectory in its treatment. Drawing on the work of Gilles Deleuze, as well as C.S. Peirce and the lesser-known Gilbert Simondon, Alberto Toscano takes the problem of individuation, as reconfigured by Kant and Nietzsche, into the realm of modernity, providing a unique and vibrant contribution to contemporary debates in European philosophy.

For the past 5 years I have been photographing and interviewing men who play games based on contemporary conflicts. The games attempt to re-create scenarios that the US military is engaged in around the world like the "Hunt for Osama Bin Laden" that took place three years ago on a campground in Northern, Virginia. On a sociological level, the work speaks about the way that trauma and conflict penetrate a culture sheltered from the horrors of war. Many of the scenarios (...) are created and inspired from news reports and images and the stages where the games are played are often a poor imitation of the original scenes from photographs. The book will bring together the series of 24 photographs with essays discussing and analyzing the influence of the media, particularly photographs and video, on the culture at large and how conflict is "discussed" in the visual realm. (shrink)

This supplement to Prudentia 2003 contains a series of papers written by previous students and colleagues of professor Chris Dearden, former professor of classics at Victoria university of Wellington.

Through an attentive reading of his essay, “Psychoanalysis Searches the States of Its Soul,” it is possible to pursue Derrida's thinking about psychoanalysis and cruelty in terms of the distinction he makes between Nietzsche and Freud, whereby the latter maintains an “opposable term” to cruelty. This article explores the status and significance of such an “opposable term” as one possible source of a Freudian future beyond Freud, and in a postscript carries its reading into the question of the (...) “side of life” and of death in Derrida's H.C. for Life. (shrink)

How did the events of the early modern period affect the way gender and the self were represented? This collection of essays attempts to respond to this question by analysing a wide spectrum of cultural concerns - humanism, technology, science, law, anatomy, literacy, domesticity, colonialism, erotic practices, and the theatre - in order to delineate the history of subjectivity and its relationship with the postmodern fragmented subject. The scope of this analysis expands the terrain explored by feminist theory, while (...) its feminist focus reveals that the subject is always gendered - although the terms in which gender is conceived and represented change across history. Feminist Readings of Early Modern Culture not only explores the representation of gendered subjects, but in its commitment to balancing the productive tensions of methodological diversity, also speaks to contemporary challenges facing feminism. (shrink)

In view of the enormous and expanding body of literature on Sartre the best one might expect of a new study would be a profound new insight or a significant new systemization of existing insights; the worst would be either a rehash of old opinions or a deliberate effort to be ‘new’ at all costs If Mrs McCall’s book falls somewhat short of the first category she certainly avoids most of the pitfalls of the second.

The topic of cruelty features regularly in discussions concerning animals’ moral status. Further, condemnation of cruelty to animals is virtually unanimous. As Regan points out, ‘[i]t would be difficult to find anyone who is in favour of cruelty.’ What is to count as cruelty is therefore important. My aim here is to gain a clearer understanding of one aspect of our moral landscape: cruelty to animals. I will start by analyzing the concept of cruelty (...) in section II. In section III I will examine some implications of this analysis. I will present two arguments for why we should reassess whether modern farming practices are cruel. First, farming practices have changed and our understanding of the concept of cruelty needs to change with them. Second, our application of the concept of cruelty is inconsistent: we would consider many routine practices involving farm animals to be cruel if they involved pets. This inconsistency presents a dilemma: either extending farming practices to pets would not be cruel, or continuing our current farming practices is cruel. In section IV I consider some objections. (shrink)

This chapter examines the relevance of Gilles Deleuze's work for the works of Italian director Carmelo Bene. It argues that Deleuze's One Less Manifesto conceived the theatre of continuous variation, particularly Bene's theatre, as one that is initiated and sustained by subtraction. It also questions the compatibility of Deleuze's vitalist concept of subtraction with Bene's own concept of the subtractive.

Resumen: Este trabajo tiene como fin analizar el teatro como una representación de los conflictos del ser y su relación con el mundo. Se centra en el teatro de Gustavo Ott, para quien el Espectáculo es la Alteridad de la sociedad contemporánea, sus obras dramáticas plantean en el tema y la puesta en escena conflictos existenciales del hombre, así como la violencia, la muerte, lo absurdo, lo oscuro, la crueldad y el humor. Por ello, la investigación pretende describir cómo el (...) autor estetiza la violencia y experimenta puestas en escenas teatrales con la literatura y el cine, utilizando teorías y de La Alteridad de M. Bajtín; La Sociedad del Espectáculo, M. Vargas Llosa y El Cine de Q. Tarantino, por medio de una investigación cualitativa, con lectura analítica y amplios registros documentales.: This article is intended to analyse the Teatro, As A Representation of the conflicts of the self and its relationship with the world. Search the Through the actors--the characters, the Other being no more than the Self, evidencer A Concienc Cultural heritage in a Show society. The Research focuses on the theatre of Gustavo Ott, for whom The Show is la Alteridad of contemporary SocietyTheir Dramatic works Pose in the subject and staging existential conflicts of man, as well as Violence, death, the Absurd, the dark, the cruelty And The humour. Therefore, the article intends to describe as the author merely aestheticised the violence and experiments in theatrical scenes with literature and cinema, using Theories and methods of La Alteridad of M. Bakhtin; La Sociedad of the Show, M. Vargas Llosa, The Cinema of Q. Tarantino, Through qualitative research, with analytical reading and extensive documentary records. (shrink)

The oil-rich nation-states of the Arabian Peninsula are investing large sums in the development of an international sports industry for the region. In an effort to field its own national sports tea...

There are important studies that have directly focused on how, in times of conflict, it is possible for previously law abiding people to commit the most atrocious acts of cruelty and violence. The work of Erich Fromm, Hannah Arendt, Zygmunt Bauman and Ernest Becker have all contemplated the driving force of aggression and mass violence to further our understanding of how people are capable of engaging in extreme forms of cruelty and violence. This paper specifically addresses these issues (...) by focusing on C. P. Taylor’s play Good. This provocative play examines how a seemingly ‘good’ and intelligent university professor can gradually become caught up in the workings of the Third Reich. Taylor highlights the importance of appreciating how people can be steadily incorporated into an ideologically destructive system. I argue that the theatre is a powerful medium to explore these complex issues. The audience of Good find themselves confronted with the following question—‘What would you have done?’. (shrink)

This article explains Nietzsche’s high regard for cruelty. After offering a conceptual analysis of cruel acts, it argues that they are an apt means of expressing one’s power, drawing from work on Nietzsche’s psychological views and doctrine of the will to power to do so. In addition to the benefit that perpetrators of cruelty can enjoy in virtue of expressing their power, victims, by enduring cruelty, can cultivate qualities essential to overcoming the terrible truths of existence. Finally, (...) central to most of Nietzsche’s remarks on the matter, self-directed cruelty has deep connections with the process of sublimation, which makes possible greater and more varied modes of life. In light of this picture, the liberal equation of suffering with harm becomes questionable, as does the insistence that cruelty deprives an individual of her agency. Self-cruelty, in particular, comes to look like one of the best expressions of agency. (shrink)

Since the 1990s, there has been an extended debate among feminists and left-wing thinkers concerned with notions of justice and equality about the relationship between ‘redistribution’ and ‘recognition’ in contemporary politics. In this article, I examine the ways in which the issues of redistribution of resources and recognition are articulated in plays by contemporary Black and Asian women playwrights such as Rukhsana Ahmad, Tanika Gupta, Winsome Pinnock, and Zindika. I shall suggest that their theatre work, and experience of working (...) in the theatre, produce a dynamic and interdependent model of the relation between redistribution and recognition that ultimately suggests the need for recognition as the continuing primary concern of Black and Asian communities in Britain. This is evident in the plays’ contents, the theatrical forms employed by Black and Asian women playwrights (often naturalistic and issue-based), and the funding and theatre policies with which they engage. These, as I shall argue, produce tensions between the collective identities which they hail, for instance, through the appellation ‘Black playwright’, and the individual identities the playwrights seek to assert, requiring negotiations between the empowering as well as constraining demands of collective identities and the post-‘cultural diversity’ aspirations of long-term theatre politics. (shrink)

This article addresses the architecture of the Inns of Court, the home of the Common Law. The approach taken, however, rejects an approach that would reduce the Inns to a roster of historical details and laudatory description. Instead, the Inns are seen, if not actually felt, as the embodiment of the “original” ground of law. This experience is revealed through a three-stage discovery process that situates the Inns within the medieval context of symbol and ritual as informed by Turner’s concept (...) of liminality; analyzes the space of the Inns using concepts of bodily disunity derived from the psychoanalysis of Lacan and Klein; relates this space to the “body of Law” in phenomenological terms, as a function of the irresolvable priority of either arché or anarché. The article concludes with a series of speculative propositions on a series of originary architectonic sites: the labyrinth, the pinnacle, and the door. These culminate in the assertion that the architecture of the Inns of Court stages the deferral of bodily interiority through which the Law simultaneously derives its infinite remove and its authority. (shrink)

The death penalty by lethal injection is a legal punishment in the United States. Sodium Thiopental, once used in the death penalty cocktail, is no longer available for use in the United States as a consequence of this association. Anesthesiologists possess knowledge of Sodium Thiopental and possible chemical alternatives. Further, lethal injection has the look and feel of a medical act thereby encouraging physician participation and comment. Concern has been raised that the death penalty by lethal injection, is cruel. Physicians (...) are ethically directed to prevent cruelty within the doctor-patient relationship and ethically prohibited from participation in any component of the death penalty. The US Supreme Court ruled that the death penalty is not cruel per se and is not in conflict with the 8th amendment of the US constitution. If the death penalty is not cruel, it requires no further refinement. If, on the other hand, the death penalty is in fact cruel, physicians have no mandate outside of the doctor patient relationship to reduce cruelty. Any intervention in the name of cruelty reduction, in the setting of lethal injection, does not lead to a more humane form of punishment. If physicians contend that the death penalty can be botched, they wrongly direct that it can be improved. The death penalty cocktail, as a method to reduce suffering during execution, is an unverifiable claim. At best, anesthetics produce an outward appearance of calmness only and do not address suffering as a consequence of the anticipation of death on the part of the condemned. (shrink)

In recent years, criticism of Slavoj Žižek has intensified at a frantic pace, to the extent that he has all but been erased from the public sphere. Alongside his exclusion from dominant media-platforms such as The Guardian and the The New York Times, the denunciation of his work by the academic community has reached an excessive level, with thinkers such as Noam Chomsky seeking to undermine the empirical validity of his thought in a surprisingly personalized manner.

During the nineteen years of her play-writing career, Aphra Behn had far more new plays staged than anyone else. This book is the first to examine all her theatrical work. It explains her often dominant place in the complex theatrical culture of Charles II's reign, her divided political sympathies, and her interests as a free-thinking intellectual. It also reveals her as a brilliant theatrical practitioner, who used the seen as richly and significantly as the spoken.

Using the Lao PDR as a case study, this paper analyses human trafficking as discourse. Human trafficking is identified as a global discourse that is globalized through a set of powerful relations and actors. Following Appadurai, it is argued that this global discourse is not passively received by local actors such as the Lao state. This demonstrated by unravelling the global–local interactions through which it has entered the Lao social landscape. This is complemented with an analysis of a series of (...) events in which the human trafficking discourse is staged on Lao soil. On this basis, the paper argues that the global human trafficking discourse is actively indigenized through, amongst other things, the social practice of staging. In addition, the paper argues that this indigenized discourse is employed by actors in more localized power struggles; in this case, by the Lao state as a response to boundary crises triggered by the phenomenon of cross-border migration into Thailand as an important manifestation of the overarching process of transition. (shrink)

Notable theorists have argued that theatre and drama play positive roles in the moral education of children and adults, including cultivating their capacity for empathy. Yet other theorists have expressed concerns that plays and educational practices involving improvisation might not lead to positive changes in real life, and might even have negative influences on actors and audiences. This paper focuses in particular on the dramatic methods employed by Theatre of the Oppressed, devised by Augusto Boal, and on the (...) methods involved in the development of the play The Laramie Project, developed by Moisés Kaufman and the Tectonic Theatre Project. It argues that Theatre of the Oppressed and The Laramie Project cultivate actors’ and audiences’ empathetic capacities, while overcoming many theorists’ worries about the impact of drama. (shrink)

Antonin Artaud was a poet, theorist, philosopher, essayist, playwright, actor and director, and one of the 20th century’s most important theoreticians of drama. His theory of the ‘Theatre of Cruelty’ has influenced playwrights as diverse as Beckett, Genet, Albee and Gelber. Magic was always a central concept for Artaud, and in nearly all his writing it is given the most positive force, as something capable of healing the rift between words and things, culture and life. But during his (...) nine years of incarceration in mental asylums, magic seemed to lose its illuminating transformative power and to become demonic and persecutory. Artaud entered the realm of spectres and vampires which he believed were sucking the vitality from his mind and body. Artaud later filled twelve little exercise books with an account of his struggles to escape this physical, psychological and artistic hell. The first eleven books are filled with fragments of writing and extraordinary sketches of totemic figures, pierced bodies and enigmatic machines. Two months before his death, he took a twelfth exercise book and wrote a remarkable, incantatory text, 50 Drawings to Murder Magic. It was the last thing he wrote. (shrink)