Cuerpo desmembrado, ruptura de la percepción
In the opening scene of Jet of blood, while a couple it swears eternal love (on repetitive and mechanical way), human body parts rain down on stage. In this paper we intend to show that Artaud projected the rain of limb since a sensory reception. That is to say, strategy of disjecta membra respon...
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| Publicado en: | Revista de Literaturas Modernas |
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| Autor principal: | |
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| Acceso en línea: | https://bdigital.uncu.edu.ar/fichas.php?idobjeto=7069 |
| Sumario: | In the opening scene of Jet of blood, while a couple it swears eternal love
(on repetitive and mechanical way), human body parts rain down on stage.
In this paper we intend to show that Artaud projected the rain of limb since
a sensory reception. That is to say, strategy of disjecta membra responds to
his conception of a theater of the senses that, as he noted in The Theatre
and its Double, seeks to provoke a "revolution of the spirit". If the body is
space of fights between a the free and chaotic "inside" and "external" social
pressures, fragmentation reveals the excess energy of human above these
controls, his resilience and overcoming. To express this resistance, Artaud
appeals to body's carnivalization that, as it stated Bakhtin, produces a series
of transgressions in both critique and resistance. Thus, the dismembered
body brings to the surface, fears and taboos about death, the unity of the
human body and the inviolability of the corpse. We conclude that to
interpret the rain of human limbs, it is required to understand Jet of blood
as the staging of surrealist principles (as subversion and demoralization)
and, at the same time, that the body as a central object of the carnival
representation, problematizes philosophical topics such as perception and
existence of being. |
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