Podcasts about artaud

"Moi, je suis le pain vivant, qui est descendu du ciel" Méditation de l'évangile (Jn 6, 44-51) par le père Jean-Marie Petitclerc Chant final : "Pain pour l'homme" par ARTAUD, Brigitte et Jean-PaulDistribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Para 2025 não temos grandes planos, apenas a insistência, os gestos que exigem ser lidos na continuação de um tumulto, prosseguimos os esforços, os erros de que ainda somos capazes, com aquela liberdade de já tudo ter sido dito, estando tudo ainda por fazer. Sem nenhum compromisso com a inocência, usamos um relógio morto no pulso, e se o tempo se decompõe, como esse inodoro cadáver, o tique taque soa a uma risada. Só agora começámos a perceber o que é isso da História, como esta faz de nós os seus objectos e, no entanto, nunca nos redime. A sensação de culpa ainda é a glória a que aspiramos. A memória começa a funcionar muito tarde na vida, e apenas para ligar os vestígios de um crime tão repetido, por isso precisamos de uma coisa e do seu contrário para poder falar, sobretudo para escrever e nos movermos entre os diferentes papéis. Também nós nos ouvimos, e é mesmo esse movimento de estranheza aquilo que melhor se aproveita. Dizemos coisas que vão para além do que sabemos, e por isso mesmo nos é tão difícil sermos muito detalhados. É isso o que nos agrada, o fazer companhia a uma outra coisa, sentir como nós próprios invadimos as nossas vidas, aceitamos o risco de se ser e não ser uma coisa, estar do nosso lado e contra nós. Deve ser um risco isto, havendo a possibilidade sempre de nos denunciarmos, de requerermos a nossa condenação. Muitos hoje só conseguem ser solidários consigo mesmos, e isso faz deles os crápulas que se sabe. Mas parece-nos evidente que devemos ser capazes de fazer aquele gesto de renúncia que ensinou Kafka, ao lembrar que no confronto entre nós e o mundo, melhor será que sejamos nós a perecer e que o mundo ofereça a sua esperança a outros. Aquilo que se escreve pertence ao sentido que alguém dará ao texto no momento em que este se torne urgente, e apenas em função disso este terá algum futuro ou não terá nada. Um dos problemas da escrita nos nossos dias, do seu excesso, é o ser notório que é feita com um propósito qualquer, imediato, são coisas que redigem uns tipos sentados, sem oferecer margem ao acaso, a esse esparso ditado… Falta-nos aquele sentido corporal do teatro, uma poética cheia de ardor, que exija os seus corpos, actores que se esquecem de si mesmos e vão até ao limite e ao pavor das circunstâncias dramáticas, sem depois vir receber aplausos nem pedir desculpas ao público. Em vez desses que no final se mostram à boca de cena, acolhendo o louvor, seria necessária uma unidade de tal forma profunda com o sentido que o público tivesse de se defender dos actores, que caíriam sobre ele por ter vindo ali em busca de uma continuação do mesmo enredo e artifício que faz da vida esta coisa sem relação com nada. Abusou-se das convenções, e hoje toma-se as formas por isso mesmo, o hábito desolador do que se vai repetindo numa ênfase cada vez mais estéril. O espectáculo dissociou tudo, e o sentido já não impele a acção. Müller diz-nos às tantas estar absolutamente convencido de que o fim da literatura vem com esta resistência ao teatro, esse regime suspensivo em que se desfiam todas as hipóteses porque não se admite que a vida possa abandonar a sua falta de razão por essa urgência que compele os corpos. O nosso desânimo parte desta fractura, o facto de toda a criação se ter submetido aos ditames da produção, e desde os jornais aos projectos editoriais, abandonou-se todo o vigor, o próprio efeito de um gesto continuado, insistente, pondo-se as obras ao serviço das coisas como são em lugar de contestarem e desenvolverem uma perspectiva desejante. O importante nos escritores significativos era a forma como surgiam como intrusos gerando alguma perturbação. O seu debate com a forma residia nesse efeito de transtorno, e só assim podiam considerar-se poetas ou artistas, actores ou o quer que seja que não se viciou nem está rendido à mera repetição, às nauseantes representações que apenas servem para dilatar o espaço entre aquilo que somos e aquilo que gostaríamos de ser. Para nos servirmos de alguns exemplos, Müller lembra que Artaud nunca partiu de uma separação entre o público e a cena, mas que tentou restituir ao teatro uma função vital, que, na generalidade, este há muito tempo atraiçoou. Não há nada mais amestrado e inconsequente do que este género de actor que admite ser transformado numa celebridade, para dar corda às ilusões de uma audiência que só quer ser reconfortada no seu imobilismo, enquanto alimenta esses afectos à distância. E Müller vinca como também Brecht entendia que a força de uma obra teatral não deve ser aferida pela dramaturgia, mas com a realidade a que se refere. As instâncias de mediação começam por só se referir à realidade através dessa reprodução de imagens e lugares comuns que degradam qualquer possibilidade de que se pense o mundo enquanto uma composição unitária, em que há causas e efeitos, em que vibra em tudo um nexo contínuo. As representações que se dizem realistas começam por opor a matéria ao espírito, e assim condicionam de partida a nossa relação com aquilo que está constantemente a ser transformado pela nossa acção. E não há conspiração mais degradante do que a da impotência, desde logo porque desloca todo os efeitos para a esfera de uma sórdida minoria que se elege a si mesma contra os interesses de todos os outros. Assim, no contexto actual, as democracias conseguiram o que nenhum regime totalitário conseguiu: legitimar as piores formas de exploração fazendo com que a miséria de uns constituísse o tecto das aspirações dos demais. Actualmente, só os mais imbecis não reconhecem como as sociedades industriais modernas têm como eixo da sua ideologia e acção política reprimir a fantasia, instrumentalizá-la a favor dos seus fins e, assim, vulgarizá-la até se reconduzir inteiramente aos aspectos mais imediatos e mais sórdidos da realidade. Em vez de projectos, os homens passam a ser meros agentes viciosos, vítimas dos seus caprichos e apetites. Por esta razão, não pode haver um princípio de organização política, nem muito menos uma acção revolucionária, que passe ao lado dessa necessidade de mobilizar a fantasia. Brecht formulou-o desta maneira: haveria que possibilitar ao espectador que este pudesse a todo o momento desembrulhar aquilo a que é exposto em imagens alternativas, em processos alternativos. Que quando este se viesse diante de uma representação, quando escutasse um diálogo desenrolando-se desta ou daquela maneira, o espectador pudesse reimaginá-lo ou mesmo invertê-lo de forma a que fosse antes o diálogo que ele julga ser mais urgente ou desejável. Neste sentido, Müller rejeita as obras como coisas acabadas e que se dirigem à posteridade ou ao mundo contemporâneo, notando que esse efeito foi abolido no mesmo sentido em que deveria ser a propriedade privada dos meios de produção. "Num mundo realmente reinvertido, o verdadeiro é um momento do falso", diz-nos Guy Debord, e, se a verdade e a mentira se tornaram reversíveis, se todos os factos estão sujeitos a deturpação, nunca como hoje foi tão decisivo que o jornalismo se submetesse a um profundo exame, de forma a repensar o seu papel e influência, as suas estratégias, a sua relação com o público, a pensar novas formas de subjectividade, capazes de resistência e de crítica, mas não nos moldes do individualismo clássico, liquidado pelo desenvolvimento do capitalismo tardio. Pois, "se o ‘indivíduo' enquanto tal não é nenhuma substância eterna, mas sim uma forma histórica de subjectivação (hoje objectivamente destruída, mesmo que simultaneamente idolatrada pela ideologia do consumo e pela indústria cultural), isso, porém, não implica que devamos desistir da ideia de sujeitos capazes de resistência e liberdade", como vinca Jeanne Marie Gagnebin. Neste episódio e para levar mais longe estas indagações, convidámos Margarida David Cardoso, jornalista integrante do Fumaça, um projecto editorial marcado por uma relação comunitária, horizontal, e que representa bem esse espírito de inquietação e compromisso, aquele empenho dos que são capazes de dedicar-se quotidianamente ao esforço de promover as mudanças de perspectiva que trazem em si visões alternativas.

durée : 00:03:16 - Le Regard culturel - par : Lucile Commeaux - Après avoir inspiré Artaud et Genet, l'empereur romain Héliogabale et sa mythologie sulfureuse se retrouvent au cœur d'un récit drôle et enlevé signé Guillaume Lebrun et paru aux éditions Christian Bourgois.

Oggi a Cult: Florian Borchmeyer per le Giornate d'Autore a Parma; alla Casa della Memoria di Milano una mostra per ricordare l'artista Giovanni Rubino e il progetto Farememoria; al Teatro della Contraddizione debutta "Beatrice (Cenci)" di Scimmie Nuda, da Artaud e Shelley; l'edizione 24/25 di Invito a Teatro con alcune novità...

Antonio Attisani, Lea Melandri"La vita impresentabile"Femminismo e corpo teatro. Un dialogo.Cronopio Edizioniwww.shopcronopio.it«Mentre i realismi sono autoritari e maschili senza appello, nel grottesco saltano anche le identità di genere e si è fatalmente nel trans. Al limite, il grottesco non si può dire cosa sia, salvo che lì si assiste alla traiettoria delle convenzioni dal nulla al nulla.» (A.A.)«Per riuscire a dare voce a ciò che resta “impresentabile” della vita, alla “visceralità” e alle ombre che si porta dentro, è necessario prima di tutto far cadere gli steccati che le hanno tenute imprigionate, dare diritto di cittadinanza e di esistenza, come dice Artaud, “ad atti per natura ostili alla vita delle società”.» (L.M.)Antonio Attisani ha iniziato la carriera come attore nel 1968; è stato operatore teatrale e docente universitario, a Venezia e Torino. Tra le sue ultime pubblicazioni: L'umanità mancata (2023); La tenda. Teatro e conoscenza (con C. Sini, 2021).Lea Melandri, figura tra le più significative del femminismo italiano, ha preso parte attiva al movimento delle donne sin dagli anni Settanta. Della sua ricerca sulla problematica dei sessi sono testimonianza, tra le numerose pubblicazioni, Amore e violenza (2011 e 2024); Come nasce il sogno d'amore (2023).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

durée : 00:16:59 - Les Nuits de France Culture - Quelques moments dans la vie de Roger Blin et du théâtre, tels qu'il les racontait à Jean Paget dans l'émission "Dix ans de création dans les lettres et les arts", : "Sept fauteuils d'avant-garde : Roger Blin" (1ère diffusion : 27/01/1967). - invités : Roger Blin Acteur et metteur en scène

Send us a Text Message.Simon and Lee talk about obsessions and whether or not to talk about them.  Things they discuss: Being discombobulated, Lee's flight being cancelled, more on Simon's cholesterol and the NHS, budget cuts, brief (tangiential) conversation with Jefrey the dalmation, there will be butter (a film starring Daniel Day Lewis), birthday presents and Bob's birthday present registry, Bear (note-taking application), annual subscription services, shitting and kissing balls, putlocker (again), very delayed update on Kamala Harris, Eames House Bird, reading in the pub with a frolleague, articles about Lidar ("light detection and ranging"), Quicksilver (launcher application from back in the day), being obsessed with things, dickhead rabbit holes, sub-reddits, Lee going further than Madonna in his (yoga) practice, teaching classes on Brecht and Stanislavski, Artaud and total theatre, why Simon quit instagram years and years ago, and the sourdough line of conversation (getting high on your supply).Get in touch with Lee and Simon at info@midlifing.net. ---The Midlifing logo is adapted from an original image by H.L.I.T: https://www.flickr.com/photos/29311691@N05/8571921679 (CC BY 2.0)

Buy 'Journey to Mexico: Revolutionary Messages & the Tarahumara' (Contra Mundum Press) with introduction by Stuart Kendall: https://www.contramundumpress.com/journey-to-mexico'Dionysus Speed' (Contra Mundum Press): https://www.contramundumpress.com/product-page/dionysos-speedAbout  'Journey to Mexico: Revolutionary Messages & the Tarahumara':On 10 January 1936, the poet, actor, and dramatic theorist, Antonin Artaud departed Europe on a journey to Mexico that would take him from the streets, cafés, and lecture halls of Mexico City to the remote mountains of the Sierra Tarahumara. The journey would last only ten months, culminating in some six to eight weeks spent among the Tarahumara (Rarámuri), but it was a profound turning point in his life.   Artaud didn't just leave Europe. He fled it. “I came to Mexico to escape European civilization … I hoped to find a vital form of culture.” The vital form of culture that he sought was one wherein individual and communal behaviors were rooted in the soil of a place, wherein the rituals of religion reinforced a connection in human lives between the earth and the sun.   But Artaud's search for a vital form of culture would not be a simple one. His appeal to indigenous culture would first require an intense and intricate effort at aesthetic, religious, political, and philosophical decolonization. And this intellectual work would not be without a psychological cost.   Journey to Mexico collects very nearly all of Artaud's writings related to his voyage to the land of the Tarahumara: the writings he prepared prior to this journey; the pieces he published in Mexico and the lectures he delivered there; the essays, letters, and poems that he wrote in the years after his journey, reflecting on and reframing his experiences. A selection of letters written before, during, and after the trip conveys the very personal — the physical, emotional, and financial — challenges of the journey.    Artaud's Journey to Mexico takes us far from home to the limits of art and anthropology, myth and religion, to confront the legacies of colonial conquest and the possibility of decolonization in a desperate search for a “vital form of culture.”Support the Show.Support the podcast:https://www.acidhorizonpodcast.com/Linktree: https://linktr.ee/acidhorizonAcid Horizon on Patreon: https://www.patreon.com/acidhorizonpodcastZer0 Books and Repeater Media Patreon: https://www.patreon.com/zer0repeaterMerch: http://www.crit-drip.comOrder 'Anti-Oculus: A Philosophy of Escape': https://repeaterbooks.com/product/anti-oculus-a-philosophy-of-escape/Order 'The Philosopher's Tarot': https://repeaterbooks.com/product/the-philosophers-tarot/Subscribe to us on Apple Podcasts: https://tinyurl.com/169wvvhiHappy Hour at Hippel's (Adam's blog): https://happyhourathippels.wordpress.com​Revolting Bodies (Will's Blog): https://revoltingbodies.com​Split Infinities (Craig's Substack): https://splitinfinities.substack.com/​Music: https://sereptie.bandcamp.com/ and https://thecominginsurrection.bandcamp.com/

Manuel Rivero nos cuenta sobre el color amarillo, un poeta, un disco y la presentación de Spinetta

O capitalismo serve-se de uma mão cheia de comprimidos de viagra na hora de falar de erotismo, e prefere discutir as preferências em termos de pornografia ou particularidades sobre a penetração do que se recriar em jogos de sedução. Havia aquele tipo com uma eficiência brutal nas saídas à noite e que se limitava a aproximar-se dos alvos e dizer-lhes “queres foder?” Vendo isto alguém lhe disse: Deves estar sempre a levar estalos… e ele assentiu, que não era infrequente, mas que era o preço que pagava de bom grado sendo que com esta abordagem não deixava de foder todas as noites. O capitalismo não vê a diferença entre ele e o Casanova. Melhor ainda seria Gengis Khan, de quem se diz que cerca de um sexto de todos os homens integram a sua descendência. Aí nem estava em questão obter prazer, mas tão-só submeter as populações conquistadas, inseminar as mulheres à força, esmagar a posteridade com o seu material genético. Também o capitalismo só pensa em reproduzir-se, submeter toda a vida, até ao limite da sua extinção. Este espírito ainda repugna a uns poucos, mas cada vez são menos aqueles que não aderem às comunidades de pregar com pregos, de competir e impor-se aos demais. Entre os burgueses, Cesariny só conseguia admirar uma das suas tantas espécies. "Penso que a questão é esta: a gente –  certa gente – sai para a rua,/ cansa-se, morre todas as manhãs sem proveito nem glória/ e há gatos brancos à janela de prédios bastante altos!/ Contudo e já agora penso/ que os gatos são os únicos burgueses/ com quem ainda é possível pactuar –/ vêem com tal desprezo esta sociedade capitalista!/ Servem-se dela, mas do alto, desdenhando-a…/ Não, a probabilidade do dinheiro ainda não estragou inteiramente o gato/ mas de gato para cima – nem pensar nisso é bom!/ Propalam não sei que náusea, retira-se-me o estômago só de olhar para eles!/ São criaturas, é verdade, calcule-se,/ gente sensível e às vezes boa/ mas tão recomplicada, tão bielo cosida, tão ininteligível/ que já conseguem chorar, com certa sinceridade,/ lágrimas cem por cento hipócritas.” Hoje pede-se demasiado da política, mas o vazio é sobretudo de ordem cultural, do espírito, das ideias, e, por isso, também das nossas urgências e necessidades, paixões, desejo. Estamos consumidos por necessidades excitadas e produzidas artificialmente. “Posto isto, podemos começar a formar uma concepção de cultura, uma ideia que, antes de mais nada, é um protesto. Um protesto contra o insano constrangimento imposto à ideia de cultura, ao reduzi-la a uma espécie de panteão inconcebível e ao provocar assim uma idolatria em tudo idêntica ao culto das imagens nas religiões que relegam os seus deuses para panteões. Um protesto contra uma concepção de cultura distinta da vida, como se de um lado estivesse a cultura e do outro a vida, como se a verdadeira cultura não fosse um meio requintado de compreender e de exercer a vida” (Artaud). Diante deste cerco impiedoso, destas práticas ridículas, desta competição que dá cabo de todo o sentido da graça, da elegância de quem sempre preferiu escapar de regimes concentracionários, de bulhas intermináveis, esperava-se daqueles que vivem do tráfico das obras culturais um sinal de diferença, uma forma de demarcação. Pois como notou Vitor Silva Tavares, “se a montante e a jusante do fabrico és tu ‘o mercado', como te fazem, então está na tua mão lixá-lo – ou, em mais fina terminologia sociológica – subvertê-lo. Escolhe e torna a escolher, encontra esconsos, busca luminescências (quase) clandestinas, contribui, pela inércia, para a cubicagem dos sarcófagos de invendidos, nega a lógica vampiresca dos conglomerados editoriais. Não embarques quando ouves ou lês que eles garantem empregos e salários e difundem a língua e a cultura e o comércio externo e o equilíbrio da balança de pagamentos e o aumento do produto interno bruto… deste embrutecimento programado. Mete na cabeça que a legião de accionistas do ‘sector' não é de fiar.” Tudo isto serve de balanço para uma conversa em que falámos dos sinais da capitulação deste sector ao mercado, uma rendição eufórica que a cada ano é celebrada nessa liturgia sacrificial que é a Feira do Livro de Lisboa. Para nos acompanhar e impelir nesta reflexão e crítica da forma como o capital se vai espacializando, e subjugando as nossas cidades, “suprimindo as qualidades específicas inerentes aos lugares, os quais já só subsistem em estado de poeiras físicas, como vivências subjectivas e relativas, sem valor nem consistência” (Bruce Bégout), contámos neste episódio com os bons ofícios de Luís Mendes, geógrafo que se tem empenhado particularmente em procurar soluções para a crise da habitação e para a progressiva financeirização das cidades.

Send your questions or provocations to Adam or Budi here!In this week's episode, Adam and Budi discuss the fourth book for 2024, Yoshi Oida's "The Invisible Actor".Yoshi Oida, A Japanese speaking neither English nor French, became the first member of Peter Brook's international theatre company in Paris in 1968. Trained in the traditional Japanese arts of Noh theatre, Kabuki dance, and Bunraku storytelling, he became a leading member of the company. He participated in the extraordinary explorative journey through Africa and played starring roles in The Ik, The Conference of the Birds, The Mahabharata, and The Tempest. He was made Chevalier de l'Ordre des Art et des Lettres in 1992, and in 2007, made an officer of the same order.Mentioned in this EpisodeLa Belle Époque - Theatre Works 2024Myth, Literature, and the African World Support the Show.If you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

The third and final studio album by Argentine rock band Pescado Rabioso, 1973s 'Artaud', is essentially a solo album by enigmatic singer/songwriter Luis Alberto Spinetta. The record's jagged, irregular shape foreshadows the darkly beautiful music within, and this week's guest Ale Campos (Las Nubes) helps hopeless gringo Rob unpack this essential Spanish-language gem. Songs discussed in this episode: Bajan (Live feat. Gustavo Cerati, Dec 2009) - Luis Alberto Spinetta; Would Be - Las Nubes; Lust For Life - Iggy Pop (Live iii Points Mana, Wynwood 10-21-23); Road - Nick Drake; Muchacha (Ojos De Papel) - Almendra; Ella...Ella Ya Me Olvido, Yo la Recuerdo Ahora - Leonardo Favio; Todas las Hojas Son del Viento, Cementerio Club, Por - Pescado Rabioso; Pale Blue Eyes - The Velvet Underground; Supercheria, La Sed Verdadera, Cantata de Puentes Amarillos - Pescado Rabioso; Promise Me - The Gun Club; Bajan, A Starosta, el Idiota - Pescado Rabioso; Europa - Santana; Las Habladurías del Mundo - Pescado Rabioso; Would Be - Las Nubes

durée : 00:24:59 - Les Nuits de France Culture - par : Philippe Garbit - Entretiens avec Alain Cuny 2/5. Dans ce deuxième entretien mené par Fernande Schulmann, le comédien évoque ses études aux Beaux-Arts, son amitié avec Pierre Reverdy, sa rencontre avec Artaud, sa difficulté de vivre, (1ère diffusion : 06/01/1976). - invités : Alain Cuny Acteur français

What is National Poetry Writing Month?Welcome, art enthusiasts and wordsmiths alike, to another episode of Create Art Podcast! We are diving headfirst into the enchanting world of poetry as we celebrate National Poetry Writing Month (NaPoWriMo). This annual event, which takes place every April, encourages poets and aspiring writers around the globe to embrace their creativity and commit to writing a poem each day for the entire month.The Beauty of National Poetry Writing Month:NaPoWriMo, similar to its prose-centric counterpart National Novel Writing Month (NaNoWriMo), is a celebration of the written word and the boundless creativity that can flow when one dedicates themselves to a daily practice. Poets of all levels of expertise are invited to take part, from seasoned wordsmiths to those just dipping their toes into the vast ocean of verse.Create Art Podcast has always been a haven for artists to share their creative processes, and NaPoWriMo offers a unique opportunity for poets to reflect on their craft. With a daily commitment to producing poetry, participants discover new facets of their writing style, experiment with various forms, and explore uncharted emotional territories.Prompt for todayhere's our prompt for the day – optional, as always. Today, we'd like to challenge you to write a surreal prose poem. For inspiration, check out Franz Kafka's collection of short parables (my favorite is “The Green Dragon”).Poem for TodayA Coffee Shop in Abilene Texas 3 April 24 I walked into a coffee shop in Abilene Texas Spent the next few decades trying to find it again The Purple Pope of Abilene was slinging drinks behind the counter He was also slinging smack in the back room Preaching the words of one Andre' Breton Who I never heard of in my travels at that time A painter sat in that coffee shop He mistook Abilene Texas for Abilene Kansas And was stuck there for decades for his mistake He sold me paintings of Nietzsche and Hendrix And one that was cursed with ants crawling over skulls in a jungle He was our version of Dali There were poetry readings spontaneously Mostly young men gathered around a table Slipping pieces of paper back and forth to each other And the one I call Bear Belting out my feeble scratching's with the authority of Tzara Helping me find my voice in the chaos of the day On-the-spot spectacles occurred with no frequency Drag shows, one-act plays and pronouncements Spelling out the flaws of this Texas town As if Artaud was among us Sharing his absinthe As these playwrights downed another spiked smart drink Oh to be back there Back in my youth When life was simpler When I thought I had made the biggest mistake I found a home Where I could be what I dreamed If only for a few hours a day And after all these years of searching For another place to replace the first one I have found it But now I am the old man The...

review   This title was released in February 2024. It will be exclusively available to buy from the Big Finish website until 30 April 2024, and on general sale after this date. Not all perils faced by the Doctor are as obvious as an alien invasion. Some threats have been buried for millennia, some for mere centuries, and some hide inside a troubled mind. But whenever he finds injustice, danger, or just an irresistible mystery, the Doctor won't stop digging until the truth is uncovered. 3.1 A Theatre of Cruelty by Lisa McMullin Someone or something is manipulating the dreams of French playwright Antonin Artaud. As Artaud's nightmares are made manifest, the Doctor is compelled to intervene. Otherwise, Artaud's new idea for an immersive theatre could become a ticket to literally die for. 3.2 The Running Men by Mark Wright The TARDIS brings the Doctor to 21st Century Halifax, alongside police Sergeant Ambika Desai, as they investigate a mysterious death. The trail leads to the Hebble Piazza and an unscrupulous developer, as the Doctor uncovers the town's distant past – and the infamous Halifax gibbet. The Running Men are rising from history! 3.3 Ancient History by Matt Fitton Professor Bernice Summerfield is delving into the mystery of the Korravin, a mighty warrior horde, vanished overnight. But her expedition seems jinxed. And when a familiar blue box appears, Benny knows they're in trouble. As ancient history resurfaces, the Doctor wants to keep some things buried - but Benny's an expert at digging up the past.

La colección Discos de Estuario Editora es uno de los proyectos más interesantes que han surgido en el mundo literario uruguayo de los últimos años. Cada uno de los libros de esa colección se centra en un disco, la mayoría uruguayos pero también varios argentinos. Los protagonistas son álbumes que hicieron época, pero los autores eligen qué contar sobre ellos. Los hay con textos periodísticos, relatos de cómo se grabaron obras como Otra Navidad en las trincheras, de El Cuarteto de Nos, a cargo del periodista Ignacio Martínez. También hay trabajos de ficción donde la música juega un rol central, como la novela que escribió Carolina Bello sobre Oktubre, de los Redonditos de Ricota. Y otros han elegido encares personalísimos, poéticos, que buscan capturar el alma del disco. Es el caso de Artaud, el libro que publicó el artista plástico, diseñador gráfico y escritor Fidel Sclavo, sobre la obra maestra de Luis Alberto Spinetta. “Hay discos que parecen ser discos pero son otra cosa”, comienza escribiendo Sclavo. Pone a Artaud en una categoría superior de la música, o si no superior al menos separada: canciones que viven en una estratósfera, que escapan, dice el autor, del análisis tradicional. Que no se parecen a nada. Y podríamos agregar, que soportan el paso del tiempo. Porque la tapa icónica del Artaud, con esa mezcla de verdes y amarillos, hasta hoy se replica en videos de TikTok. Profundizamos En Perspectiva con Fidel Sclavo.

Logan Berry is the author of Casket Flare (Inside the Castle), Run-off Sugar Crystal Lake (11:11 Press), and Transmissions to Artaud (Selffuck). He's a playwright and theatre director. He lives in Chicago. Website: https://logan-berry.com/about. Twitter: https://twitter.com/lgnbrry

Podríamos decir que casi todo el teatro es un rito, que se hace magia en escena… Pero el teatro ritual es aquel que hunde sus raíces en la antigüedad clásica o hurga en el chamanismo para conseguir la catarsis del espectador y que, al finalizar la obra, algo haya cambiado en su interior. Junto al director de teatro Carlos Costa, que hoy nos presenta su nueva obra ‘Crujidos', profundizaremos en esta corriente del teatro que llega hasta nuestros días con ejemplos como Artaud, Stanislavski o Jodorowsky. Hablaremos también de algunas supersticiones asociadas al mundo del teatro y del género de terror sobre el escenario. Compra tu entrada, acomódate en tu butaca y disfruta… ¡La función va a comenzar! No te pierdas 'La Semilla del Diablo en Castilla-La Mancha'. Temporada completa ya disponible: https://bit.ly/3q57yqN Si has disfrutado con este programa, compártelo en redes sociales y participa dejando tu comentario: - YouTube: https://cutt.ly/wORVJYY - Twitter: https://cutt.ly/9GUvgov - Instagram: https://cutt.ly/yGUvlV8 - Facebook: https://cutt.ly/NGUvnlK Dirige y presenta: Jesús Ortega

José Luis Rodríguez García murió el 12 de julio de 2022, aquel mes canicular de sol inmenso en un tiempo que para siempre va a ser extraño. Era escritor de novelas y cuentos, narraciones pobladas de personajes sin rumbo o marginados por la historia; había sido uno de esos profesores de filosofía capaz de iluminar el sentido dándole a la educación universitaria una proyección tan importante para la construcción personal y sentimental como para la construcción intelectual; fue un cabal ensayista de textos donde reflexionó sobre la construcción de la modernidad, el cuestionamiento del poder y la posibilidad de la palabra, atendiendo a autores formidables como Artaud, Hölderlin o Celan. Y fue poeta, acaso su vocación más radical e importante. Siempre quiso decir la verdad. Poeta en tiempos de miseria, hasta el último de sus días. Era posible la ternura se publicó en Logroño (La Rioja), en Ediciones del 4 de agosto. Colección Planeta Clandestino # 251 gracias a su compilador, el poeta David Mayor, en la fotografía, con el libro. I Hate the Company Bosses Sarah Ogan Gunning Girl of Constant Sorrow Summer's Almost Gone The Doors Waiting for the Sun On n'oublie rien Jacques Brel 50 Plus Belles Chansons Strange Days The Doors Strange Days Hey, That's No Way to Say Goodbye Leonard Cohen Songs Of Leonard Cohen Night Bruce Springsteen Born To Run The Sound of Silence Simon & Garfunkel The Singer Take It as It Comes The Doors The Doors When the Music's Over The Doors The Doors Bitter Rain Malvina Reynolds Sings the Truth Bruxelles Jacques Brel InfinimentEscuchar audio

Kanye is trying to release a new record, Vultures, with Ty Dolla $ign, and his enemies are refusing to get its samples cleared, leaving the record unreleased. Kanye, of course, isn't staying quiet about what's happening behind the scenes, and treated the world to a 15 minute rant against his many enemies, ranging from LVMH CEO Bernard Arnaut, the Rothschilds, Jay-Z, and Drake among them, as well as the abandonment of the family that has left him adrift. It's powerful stuff, and of course he isn't exactly taking it easy on Zionists either. The controversy and aura around a Kanye release is what makes him the most important artist alive. He is perhaps the only living CONTEMPORARY artist, one who channels the multitudes and contradictions and informational channels crossing over of digital culture. He is the richest and most powerful artist of our lifetimes, one who has made billions not just for himself but for others, but he still manages to embody the rebel spirit of industrial music culture or dada. He's Artaud, Bowie, Michael Jackson, and William Benett at once. With all of us excited about Vultures coming out, we brought out another Kanye head — the photographer Matthew Denicola — to discuss the man. PATREON LINK SOUNDTRACK: Kanye West "The Blame Game" Kanye "Love Lockdown"  Kanye "I'm in It"  Aphex Twin "Avril 14" Kanye "Famous" Sombre Chemin "Hiems" Children of the Corn "Call You Bitch" Kanye West and Ty Dolla Sign "Vultures" LINKS: Kanye West Rant Kanye West Twitter Matthew Denicola at Twitter Matthew Denicola Website Lou Reed Worshops Yeezus 

durée : 01:30:00 - Les Nuits de France Culture - par : Philippe Garbit - En 2005, l'artiste peintre Ernest Pignon-Ernest donne un long entretien dans l'émission "Surpris par la nuit". Il évoque les thèmes de ses peintures murales sur les murs des villes du monde entier : Genet, Rimbaud, Desnos, Pasolini, Artaud, les fusillés de la Commune ou les visages de l'Apartheid. - invités : Ernest Pignon-Ernest Artiste; Pascal Convert Plasticien (sculpture, installation et vidéo) et auteur de films documentaires; Marie-José Mondzain Philosophe, écrivaine et directrice de recherche au CNRS

durée : 00:53:05 - LSD, la série documentaire - par : Perrine Kervran - En 1947, la Radio-diffusion française commande à Antonin Artaud, tout juste revenu d'un séjour de neuf années à l'asile de Rodez, une œuvre radiophonique inédite. Ce sera "Pour en finir avec le jugement de dieu".

durée : 00:09:00 - Les Nuits de France Culture - par : Albane Penaranda - En 2014, Christine Goémé recevait l'écrivain et éditeur Philippe Sollers pour une "Nuit rêvée" au cours de laquelle il avait choisi de faire entendre les voix de François Mauriac, Georges Bataille, Dominique Rolin, Julia Kristeva, Artaud, Marcelin Pleynet, Malraux, Joyce et Breton. Entretien 3/3. - invités : Philippe Sollers Écrivain français

durée : 00:44:54 - Les Nuits de France Culture - par : Philippe Garbit - "Pour en finir avec le jugement de dieu", est une création radiophonique du poète Antonin Artaud, enregistrée en novembre 1947, avec Maria Casarès, Roger Blin, Paule Thévenin et l'auteur lui-même. Une création censurée en 1948 par le directeur de la radio publique Wladimir Porché. - invités : Antonin Artaud; Maria Casarès; Roger Blin Acteur et metteur en scène

Artaud bei den Tarahumara in Mexiko: Mit einer Peyote-Zeremonie sucht der Dichter seine Opiumsucht zu überwinden und ein neues Bewusstsein zu erlangen. Das Soundwalk Collective und Patti Smith stellen diese Begegnung nach.Von Soundwalk Collective nach Texten von Antonin Artaud und Patti Smithwww.deutschlandfunkkultur.de, KlangkunstDirekter Link zur Audiodatei

From ' Artaud 1937 Apocalypse':"Antonin Artaud's journey to Ireland in 1937 marked an extraordinary—and apocalyptic—turning point in his life and career. After publishing the manifesto The New Revelations of Being about the “catastrophic immediate-future,” Artaud abruptly left Paris for Ireland, remaining there for six weeks without money. Traveling first to the isolated island of Inishmore off Ireland's western coast, then to Galway, and finally to Dublin, Artaud was eventually arrested as an undesirable alien, beaten by the police, and summarily deported back to France. On his return, he spent nine years in asylums, remaining there through the entire span of World War II.During his fateful journey, Artaud wrote letters to friends in Paris which included several “magic spells,” intended to curse his enemies and protect his friends from the city's forthcoming incineration and the Antichrist's appearance. (To André Breton, he wrote: “It's the Unbelievable—yes, the Unbelievable—it's the Unbelievable which is the truth.”) This book collects all of Artaud's surviving correspondence from his time in Ireland, as well as photographs of the locations he traveled through. Featuring an afterword and notes by the book's translator, Stephen Barber, this edition marks the seventieth anniversary of Artaud's death."Support the podcast:Linktree: https://linktr.ee/acidhorizonAcid Horizon on Patreon: https://www.patreon.com/acidhorizonpodcastZer0 Books and Repeater Media Patreon: https://www.patreon.com/zer0repeaterMerch: http://www.crit-drip.comOrder 'The Philosopher's Tarot': https://repeaterbooks.com/product/the-philosophers-tarot/Subscribe to us on Apple Podcasts: https://tinyurl.com/169wvvhiHappy Hour at Hippel's (Adam's blog): https://happyhourathippels.wordpress.com​Revolting Bodies (Will's Blog): https://revoltingbodies.com​Split Infinities (Craig's Substack): https://splitinfinities.substack.com/​Music: https://sereptie.bandcamp.com/ and https://thecominginsurrection.bandcamp.com/Support the show

Lee Klein https://www.litfunforever.com/about/ @leeklein0 twitter @lee.klein_ Instagram Buy Chotic Good here: @saggingmeniscus https://www.saggingmeniscus.com/catalog/chaotic_good/ Gateway Books Peter Pan. Where the Wild Things Are. The Big Book of Jokes and RiddlesBlack Stallion series. D'Aulaires' Book of Greek Myths. Gary Gygax (D&D)  Judy Blume's ForeverNarnia/LOTRs (competitively read)Sherlock HolmesThe Bounty Trilogy (Mutiny on the Bounty)Count of Monte Cristo  Gatsby, Prufrock, The WastelandBorges (in Spanish)Crime and Punishment (2x)Narcissus and Goldmund   Steppenwolf, Demian, Siddhartha, Journey to the EastKafka storiesKerouac (Subterraneans, Dharma Bums, Big Sur)One Flew Over the Cuckoo's NestFear and Loathing in Las Vegas, Electric Kool Aid Acid Test, The Doors of Perception, Island Another Roadside Attraction and Still Life with Woodpecker by Tom Robbins Vonnegut (Slaughterhouse Five, Cat's Cradle, Deadeye Dick)The Crying of Lot 49Red-Dirt Marijuana and Other Stories by Terry SouthernThe Beat Reader – Burroughs, Corso, Ginsberg >> Blake  BelovedLight in AugustSee Under: Love (Grossman -> Bruno Schulz)Maus (graphic novels, Raw vols 1 and 2, Richard McGuire, Here)Portrait of the Artist as a Young Dog/Adventures in the Skin Trade (Dylan Thomas) The Tin Drum, A Personal Matter, The Box Man, Carver, Steinbeck short novels, Hamsun (Hunger), Cheever stories, Auster, Beckett, Kafka, Handke, Artaud, Barthelme, Maupassant, Chekhov, TC Boyle, Philip Roth, Sontag essays, Ulysses, Moby Dick DFW essays, Mark Leyner, DeLillo, Moody, The Recognitions, George Saunders, Pnin, The Last Samurai, Bernhard, Sebald, Gogol stories, Salinger stories, Geoff Dyer, Philip Pullman (His Dark Materials)    War and Peace, Proust, Musil, Mann, Hamsun Bolano (Between Parentheses) Knausgaard, Rachel Cusk, Houellebecq, Enard, Gracq, Perec, Zweig, Grace Paley, Hrabal, Aira, The Waves   Currently reading Ute Av Verden, Knausgaard (in Norsk)  Reader's Block, Markson Henri Cartier-Bresson interviews Ubik, Philip K. Dick Looking forward to Middlemarch, Trollope The Wolves of Eternity, KOK MJ Nicholls stories  Steinbeck (shorter novels)  The rest of Hrabal in English (four books) Cormac McCarthy (his first four books) BTZ-inspired purchases: Monument Maker (David Keenan), The Salt Line (Shimoni), The Logos (Mark de Silva), Traveler of the Century and How to Travel Without Seeing (Andreas Neuman), The Kindly Ones (Littel), Too Much Life (Lispecter), Kafka Diaries Recently read All of Us Together in the End, Matthew Vollmer Bang Bang Crash, Nic Brown All Dag Solstad in English (Novel 11, Book 18) All Tomas Espedal in English (Love, Tramp) I Served the King of England, Hrabal  The Belan Deck, Matt Bucher Annie Ernaux (Happening, A Man's Place, I Remain in Darkness) Philip Roth (Zuckerman Unbound, Patrimony, The Facts, The Counterlife) The Magus, John Fowles Desert Island Books   The Birds, Tarjei Vesaas (Archipelago)Weight of the World, Handke  A Time to Live and a Time to Die, Erich Maria Remarque Garden, Ashes, Danilo Kis A Balcony in the Forest, Julien GracqA Musical Offering, Luis Sagasti (Charco, Fionn Petch)Atomik Aztex, Sesshu Foster (Grove Press)Amazons, Cleo Birdwell (DeLillo)A Time for Everything, KOK (Archipelago)Joseph and His Brothers, Thomas Mann (John E. Woods translation; Modern Library)  

Este viernes los Bichos de Radio, compartieron editados sobre diferentes acontecimientos históricos del mes de Junio. El bombardeo a Plaza de Mayo aquel 16 de Junio de 1955. El derrocamiento de Arturo Illia en  1966. Y la masacre de Ezeiza el 20 de junio de 1973. Con un podcast recordamos los 50 años del golpe en Uruguay. Además, un editado de Luis Alberto Spinetta a 50 años del lanzamiento del álbum Artaud.

¿Alguna vez te has preguntado cómo un disco de rock progresivo argentino cambió la historia de la música en América Latina? No te pierdas nuestro último episodio del podcast, donde exploramos el legado de 'Artaud' de Pescado Rabioso"

Felipe Pigna conversó el escritor e historiador, Sergio Pujol, sobre su libro dedicado al rock y la política argentina en los años 1973 llamado “El año de Artaud”, en homenaje al disco de Luis Alberto Spinetta. El mismo se interna en la no siempre armoniosa relación entre la acción política y los sueños de una música que supo encarnar la imaginación utópica de su tiempo. El año de la “juventud maravillosa”, del “Tío” Cámpora, la Juventud Peronista y los Montoneros. El año de la masacre de Ezeiza, el comienzo del tercer mandato presidencial de Perón y el asesinato de José I. Rucci.

Playwright and director Monte D. Monteleagre joins the fellas to talk about his new podcast inc., Artaud and the surrealists, and what may be the first Surrealist film: the Seashell and the Clergyman. And listen to the After Dark episode for Patreon subscribers at: patreon.com/artofdarkpod montedmonteleagre.com incthepodcast.buzzsprout.com twitter.com/artofdarkpod twitter.com/bradkelly twitter.com/kautzmania https://youtu.be/SYyGl3u-4D4

Hatting, Andréwww.deutschlandfunkkultur.de, BuchkritikDirekter Link zur Audiodatei

  Uma breve estória sobre a construção de um dos álbuns mais aclamados do rock latinoamericano, primeiro na lista de melhores de rock latino para a revista Rolling Stone, “Artaud” de Pescado Rabioso. Roteiro: Julián Catino Trechos do ensaio “Van Gogh, suicidado pela sociedade” de Antonin Artaud narrados por Henrique Oliveira dos podcasts “Errado Não […]

Actor Amanda Forstrom of Bad Mouth Theatre Company joins the pod to drop a new adaptation of Artaud's infamous radio play: TO HAVE DONE WITH THE JUDGEMENT OF GOD. And listen to the After Dark episode for Patreon subscribers at: patreon.com/artofdarkpod twitter.com/badmouthtc badmouthtc.com twitter.com/artofdarkpod twitter.com/bradkelly twitter.com/kautzmania https://youtu.be/uFRDvSZ9k8o

¡Toma 2! 1) La gente de la revista RAPALLO hace su aparición y nos cuenta de qué trata dicha revista 2) A partir de Editorial Alquimia que nos mandó un libro sobre Artaud, de Roxana Artal que nos dejó su libro EL DESENCANTO de editorial En Danza, y de Alejandra Pizarnik nos largamos a lo siguiente 3) Hablar de dos libros de poesía cada uno y de recomendar su lectura ¡Disfruten! --- Send in a voice message: https://anchor.fm/elsonidoylafuria/message

durée : 01:21:00 - Les Nuits de France Culture - Par Hubert Juin - Avec Paule Thévenin, Jean-Paul Morel, Marthe Robert et Marcelin Pleynet - Avec en archives, la voix d'Antonin Artaud - Textes lus par Jean Bollery et Roger Coggio - Réalisation Anne Lemaître

This podcast is sustained by sales of our debut book, Meow: A Novel (For Cats).Episode 1: Hanya Yanagihara, Jacques Lacan, and Artaud's Theatre of Cruelty  In this episode, your cat will be introduced to the Lacanian themes undergirding Hanya Yanagihara's work, A Little Life in particular. Topics include the politics of victimhood, metonymyzation of desire, and performative readings of A Little Life in Silver Lake cafés (cover splayed wide, spine rigid with disuse, dust jacket artfully blemished) as a latter-day instantiation of Artaud's Theatre of Cruelty. We convey the gravity and lasting import of these ideas by meowing thousands of times, incessantly, for over thirty-five minutes. MEOW is the first and only literary podcast for your cat, conceived and presented in its native language.  This podcast is sustained by sales of our debut book, Meow: A Novel (For Cats).  Praise for Meow: A Novel "Breathtaking... a revelation." - Stubbs, Unaltered Domestic Shorthair "Meow meow meow meow meow, meow meow meow. Meow? Meow." - Joan DidionFollow us on Instagram: https://www.instagram.com/meowliterature/Facebook: facebook.com/themeowlibrary

Maddie and Josh from the Evil Thespian podcast join the show to talk Artaud, the state of American theatre and more. And listen to the After Dark episode for Patreon subscribers at: patreon.com/artofdarkpod twitter.com/tragic_fruit twitter.com/evlthspn twitter.com/artofdarkpod twitter.com/bradkelly twitter.com/kevinkautzman

Writer and co-host of the Art of Darkness podcast Brad Kelly is here. Brad's writing plays with the genre of sci-fi and pushes it to the outer realms of the weird, as evinced by his latest novel 'House of Sleep' from 2021. Here we discuss that novel, sci-fi, Phillip K. Dick, and more, as well as the opioid epidemic, Jim Jones and the People's Temple and Baz Luhrmann's Elvis biopic. Soundtrack: Plastikman "Outbak" Circle X "Current" Bobby Beausoleil "Hellion Rebellion"  KMD "What a Nigga Know" Intolitarian "Allegiance to the Self" Elvis Presley "Unchained Melody (Live)" LINKS: Brad at Twitter: @bradkelly Buy Brad's House of Sleep Brad Kelly Art of Darkness podcast Adam on Art of Darkness discussing Burroughs and Anna Kavan Adam on Art of Darkness discussing Artaud

Adam Lehrer joins the fellas to talk about the troubled, mad genius of the theatre of cruelty: Antonin Artaud. And listen to the After Dark episode for Patreon subscribers at: patreon.com/artofdarkpod twitter.com/SafetyPropagan1 twitter.com/artofdarkpod twitter.com/bradkelly twitter.com/kevinkautzman https://youtu.be/-QAE0qODjnA

durée : 00:24:59 - Les Nuits de France Culture - Entretiens avec Alain Cuny 2/5. Dans ce deuxième entretien mené par Fernande Schulmann, le comédien évoque ses études aux Beaux-Arts, son amitié avec Pierre Reverdy, sa rencontre avec Artaud, sa difficulté de vivre, (1ère diffusion : 06/01/1976). * "Une certaine articulation de l'entreprise de vivre s'est tout à coup révélée". voilà comment s'exprimait, de sa voix incomparable, Alain Cuny dans la magnifique série de cinq entretiens qu'il accordait en 1975 sur France Culture. Par ces mots il décrivait ce qu'avait représenté pour lui, alors qu'il n'avait pas vingt-ans, les rencontres de Braque, Picasso, Chanel, que lui avait présenté Pierre Reverdy, avec lequel il avait lié une amitié profonde.  * Dans le deuxième volet de cette série, Alain Cuny parlait également de sa rencontre avec Artaud et on découvrait comment, à quinze ans à peine, un don pour le dessin lui avait permis de gagner sa vie en réalisant des affiches de cinéma, notamment pour des films de Feyder, Renoir ou Pabst.  "Comédien. ce n'était pas là où je voulais aller" disait-il, en martelant qu'il n'avait pour autant jamais exercé cet art qu'en lui donnant toujours tout de ses ressources physiques et spirituelles. Il faut absolument entendre Alain Cuny, dans toute sa riche complexité, au micro de son amie Fernande Schulmann ; à mille lieues de la statue du commandeur qu'il a pu représenter, l'entendre dire encore, après quarante d'années d'une carrière flamboyante, "Je vis en clandestin", avouant qu'il avait été longtemps, et était resté peut-être toujours, "en permanent danger de rompre", "de prendre congé" d'une existence à jamais marquée par son douloureux commencement. Par Fernande Schulmann - Avec Alain Cuny Entretiens avec Alain Cuny 2/5 (1ère diffusion : 06/01/1976) Indexation web : Sandrine England, Documentation sonore de Radio France Archive Ina-Radio France

Host Aaron Odom (@TridentTheatre) and guest Shannon Corder (@shannonsboobs) discuss Antonin Artaud, one of the oddest and most influential characters in 20th century theatre, and his Theatre of Cruelty

Alejandra Pizarnik was born in Buenos Aires to Russian Jewish immigrant parents. She studied philosophy and literature at the University of Buenos Aires before dropping out to pursue painting and her own poetry. In 1960, she moved to Paris, where she befriended writers such as Octavio Paz, Julio Cortázar, and Silvina Ocampo. Considered one of mid-century Argentina's most powerful and intense lyric poets, Pizarnik counted among her influences Hölderlin and, as she wrote in “The Incarnate Word,” an essay from 1965, “the suffering of Baudelaire, the suicide of Nerval, the premature silence of Rimbaud, the mysterious and fleeting presence of Lautréamont,” and the “unparalleled intensity” of Artaud's “physical and moral suffering.” Pizarnik's themes were cruelty, childhood, estrangement, and death. According to Emily Cooke, Pizarnik “was perennially mistrustful of her medium, seeming sometimes more interested in silence than in language, and the poetic style she cultivated was terse and intentionally unbeautiful.” Her work has continually attracted new readers since her suicide at age 36.Pizarnik published several books of poetry during her lifetime, including: La tierra más ajena (1955), La última inocencia (1956), Las aventuras perdidas(1958), Árbol de Diana (1960), Extracción de la piedra de locura (1968), and El infierno musical (1971). She also published the prose essay “La condesa sangrienta” (1971), a meditation on a 16th-century Hungarian countess allegedly responsible for the torture and murder of more than 600 girls. Pizarnik's work has been translated into English in the collections Alejandra Pizarnik: Selected Poems (translated by Cecilia Rossi, 2010) and Extracting the Stone of Madness (translated by Yvette Siegert, 2016).From https://www.poetryfoundation.org/poets/alejandra-pizarnik. For more information about Alejandra Pizarnik:“Three Letters from Alejandra PIzarnik to Léon Ostrov”: https://www.musicandliterature.org/features/2015/6/28/three-letters-from-alejandra-pizarnik-to-len-ostrov“Where the Voice of Alejandra Pizarnik Was Queen”: https://www.theparisreview.org/blog/2018/07/25/where-the-voice-of-alejandra-pizarnik-was-queen/“The Unstoppable Myth of Alejandra Pizarnik”: https://lithub.com/the-unstoppable-myth-of-alejandra-pizarnik/

Writer and philosopher Daniel Miller joins SOS once more. DC has just returned from an enlightening trip in Mexico where he engaged in Peyote rituals. DC relays us his exploits and discusses the medicinal values of the Peyote cacti. We also discuss Artaud's journeys throughout Mexico, the ego death, the specific metaphysical content of Mexican artists, the end of the Covid psyop and the beginning of the Ukraine psyop, and the inescapable decay of the first world West. SOUNDTRACK: Aggressor "Uncontrolled Desire"  Flipper "Way Of The World [Live]"  Reversal of Man "Wives Tale" Home Blitz  "Bored" Hawkwind "The Psychedelic Warlords"  Neutral Milk Hotel "The King of Carrot Flowers Pts. II" LINKS: DC Miller at Substack DC on science and the art of deception Peyote in Mexico Inside a Peyote pilgrimage Artaud in Mexico 

Clarissa Malheiros. Actriz y creadora de tres espectáculos: Artaud, Kafka y Pessoa

Liz Lamere and Jared Artuad join us this week on Aquarium Drunkard's weekly talk show podcast Transmissions to discuss the life, work, and creative philosophies of the late Alan Vega. As one-half of Suicide, alongside his partner Martin Rev, Vega blazed a trail of provocative, synth-driven art rock that was often too punk for the punks. From there, his solo career found him making forays into pop music with producer Ric Ocasek, painting, and constantly creating, rarely working on any terms other than his own. For this program, his widow and creative partner Lamere and collaborator Artaud join host Jason P. Woodbury to discuss the Vega Vault, a vast trove of unreleased material that's yielded posthumous releases like It and Mutator on the Sacred Bones label, Surrender, a new career spanning Suicide comp, and Liz Lamere's Keep It Alive, out May 20 on In the Red Records.

Episode 69 More Symphonic Music with Synthesizers   Playlist Tomita, “Gardens In The Rain (Estampes, 3)” from Snowflakes Are Dancing (1974 RCA Red Seal). "Electronic performances of Debussy's tone paintings." Performed, arranged, and electronically created by Isao Tomita, composed by Claude Debussy. Modular Moog synthesizer by Isao Tomita, with equipment listed as: Moog synthesizer; One 914 extended range fixed filter bank; Two 904-A voltage-controlled low-pass filters;  One 904-B voltage-controlled high-pass filter;  One 904-C filter coupler;  One 901 Voltage-controlled oscillator;  Three 901-A oscillator controllers;  Nine 901-B oscillators;  Four 911 envelope generators;  One 911-A dual-trigger delay;  Five 902 voltage-controlled amplifiers;  One 912 envelope follower;  One 984 four-channel mixer;  One 960 sequential controller;  Two 961 interfaces;  One 962 sequential switch;  Two 950 keyboard controllers;  One 6401 Bode ring modulator;  Tape recorders,  One Ampex MM-1100 16-track,  One Ampex AG-440 4-track, One Sony TC-9040 4-track,  One Teac A-3340S 4-track,  One Teac 7030GSL 2-track;  Mixers,  Two Sony MX-16 8-channel mixers,  Two Sony MX-12 6-channel mixers;  Accessories,  One AKG BX20E Echo unit;  One Eventide Clockworks "Instant Phaser";  Two Binson Echorec "2" units ; One Fender "Dimension IV;"  One Mellotron.    3:41 Tomita, “The Old Castle” from Pictures At An Exhibition (1975 RCA Red Seal). “Electronic interpretations of works by classical composer Modest Mussorgsky.” Performed, arranged, and electronically created by Isao Tomita, composed by Modest Mussorgsky. Modular Moog synthesizer by Isao Tomita. Assume same instrumentation as above. 5:16 Pulsar, “Strands of the Future” from Strands of the Future (1976 Kingdom Records). Recorded in Switzerland, released in France. Drums, Percussion, Victor Bosch; Electric Guitar, Acoustic Guitar, Vocals, Gilbert Gandil; Flute, Solina Synthesizer, Roland Richard; Lyrics By François Artaud; Organ, Moog Synthesizer, Mellotron, Bass Guitar, Jacques Roman. 22:13 Vangelis Papathanassiou, “Flamants Roses” from Opéra Sauvage (1979 Polydor). "Original Music For Frédéric Rossif's Television Series.” Recorded in London, 1979. Composed, Arranged, Produced, synthesizers, piano, Fender Rhodes electric piano, drums, percussion, xylophone, Vangelis Papathanassiou; harp, Jon Anderson. 11:48 Rick Wakeman, “Overtures, Part 1 and 2” from 1984 (1981 Charisma). Part 1: Piano, Prophet Synthesizer, Rick Wakeman. Part 2: Organ, Piano, Prophet Synthesizer, RMI Synthesizer, Rick Wakeman. Bass, Runswick D., McGee R.; Bassoon, Sheen G., Hammond H. Cello, Truman B., Robinson M., Willison P.; Cello [Lead], Daziel A.; Clarinet, Weinberg T., Puddy K.; Drums, Tony Fernandez;  Drums, Frank Ricotti;  Fender Bass, Boghead, Steve Barnacle; Flute, Sandeman D., Gregory J.; Guitar, Beaky, Tim Stone; Horn, Thomson M., Easthope P.; Keyboards, Dave Crombie; Oboe, Theodore D., Whiting J.; Producer, Rick Wakeman Saxophone [Selmer] Gary Barnacle; Trombone, Hardie, Wilson; Trumpet, Miller J., Wallis J.; Tuba, Jenkins J. Viola, Newlands D., Robertson G., Andrade L.; Viola [Lead], Cookson M.; Violin, McGee A., Dukov B., Katz D., Bradles D., Clay L., Good T.; Violin, Leader, Rothstein J.. 5:12 Keith Emerson, “Tramway” from Nighthawks (Original Soundtrack) (1981 Backstreet Records). Keith played a Fairlight CMI on this track. The Fairlight was programmed by Kevin Crossley. Keyboards, Performed, Produced, Composed by Keith Emerson; Drums, Neil Symonette; Percussion, Frank Scully; Orchestral Percussion, Tristen Fry; Saxophone, Jerome Richardson; Trumpet [Lead], Greg Bowen. 3:25 Jean Michel Jarre, “Fourth Rendez-Vous” from Rendez-Vous (1986 Polydor). ARP 2600 synthesizer, Eminent organ, Matrisequencer, Roland TR 808 drum machine, Michel Geiss; Elka Synthex, EMS Synthi AKS, Oberheim OBX, Yamaha DX100 synthesizers, Matrisequencer, Roland TR 808 drum machine, Linn 9000 Electronic Drums, Jean-Michel Jarre. 3:59 Jean Michel Jarre, “Fifth Rendez-Vous” from Rendez-Vous (1986 Polydor). “Baby Korg” synthesizer, David Jarre; ARP 2600 synthesizer, Matrisequencer, Michel Geiss; Emulator II sampler/synthesizer, Dave Smith Prophet-5 synthesizer, Casio CZ 5000, ARP 2600, Fairlight CMI, Roland JX 8P, synthesizers, Matrisequencer, Jean-Michel Jarre. 7:56 Jean Michel Jarre, “Last Rendez-Vous: "Ron's Piece" from Rendez-Vous (1986 Polydor). Saxophone, Pierre Gossez; Elka Synthex, Seiko DS 250, Fairlight CMI synthesizers, Matrisequencer, Eminent organ, Jean-Michel Jarre. 5:45 William Ørbit, “Ogive Number 1” from Pieces In A Modern Style (2000 WEA Records). Recorded in England. Written by Erik Satie. Arranged, Programmed, Produced, Performed by William Ørbit. I think this piece is more likely Orbit's arrangement of "Ogive Number 2", not Number 1. But who cares? It's lovely to hear the French musician electrified like this. 6:45 Steve Jansen, Richard Barbieri, Nobukazu Takemura, “Empty Orchestra” from Changing Hands (1997 Medium Productions Limited). UK album of downtempo electronic music with a classical flavor. Recorded in Kyoto and London. Composed, Performed, Produced by Nobukazu Takemura, Richard Barbieri, Steve Jansen. 14:11 Sarah Davachi, “Magdalena” from Antiphonals (2021 Late Music). Canadian electro-acoustical composer and musician who blends classical instruments with electronics. Mellotron (English Horn, Bass Flute, Clarinet, Recorder, Oboe, French Horn, Chamber Organ, Nylon String Guitar), Tape Echo, Korg CX-3 Electric Organ, Pipe Organ, Harpsichord, Piano, ARP Odyssey Synthesizer, Acoustic Guitar, Violin, Voice, Sarah Davachi. 10:12   Background music: James Newton Howard, “Margaret I'm Home” from ‎James Newton Howard (1974 Kama Sutra). Performed, Composed, Arranged by, James Newton Howard.   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

durée : 00:16:59 - Les Nuits de France Culture - Ses débuts avec Antonin Artaud, son travail avec Jean-Louis Barrault, sa rencontre avec Samuel Beckett et Jean Genet sont quelques uns des moments dans la vie de Roger Blin que le metteur en scène racontait à Jean Paget en 1967 dans l'émission "Dix ans de création dans les lettres et les arts".

Alec and Nick discursively cross the river Styx that is Web3 and NFT culture. Charting a recent history of music's own volatile and speculative economies, this episode tracks analogical implications within sound and blockchain technologies. The duo borrow the crypto degen epithet “we like the art” and speak about the visualization and tokenization of music as its transpired within the industrial conditions of Web2 as an audible musical imprint. The conversation touches on recent music distribution protocol Nina, the upcoming Tiny Mix Tapes DAO, the rise and fall of SoundCloud, Artaud's Theatre of Cruelty, Simon Reynold's Conceptronica essay, Reza Negarastani & Generative Aesthetics, Dostoevsky & God, and more.

The idea began as a roundtable of 5 questions each from me and my guests, Jared Artaud & Brian MacFadyan from The Vacant Lots and Leah Shapiro & Peter Hayes of Black Rebel Motorcycle Club. It quickly became less formal than that and more conversational. We recorded for well over three hours and it was a lot of fun. I heard about cleverness in songwriting can backfire. There's a possible future for Leah & Jared in writing musical scores for boxing matches. Pete loved the silent song in Pootie Tang. And Brian is rebuilding Star Wars synths.Follow us all on social media. Please help support these artists. Their music is great and they have been so kind to this little podcast. I want to give them a huge, personal Thank You for all the time they gave me. I won't waste any more time. Let's get right into 5 Questions with Jared & Brian of The Vacant Lots & Leah & Pete of BRMC.This show is part of Pantheon Podcasts.