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| Author(s): |
Tânia Gomes Mendonça
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH/SBD) |
| Defense date: | 2014-02-21 |
| Examining board members: |
Gabriela Pellegrino Soares;
Mary Anne Junqueira;
Luiz Fernando Ramos
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| Advisor: | Gabriela Pellegrino Soares |
| Abstract | |
This work proposes an analysis about the Mexico trip realized by the French artist Antonin Artaud in 1936. With Artauds correspondences and texts written in this country, it intends to discuss his conception about Mexican revolution and its political and cultural results during the 1930s years, his ideas about the Indian cultures and his relation with the Mexican artistic intellectual reality. We have the premise that Artauds look to México was formed by an intellectual and artistic surrounding marked for the Surrealism, by an European civilizations crisis feeling and by a search for lifes forms more integrated between man, nature and arts. Artaud arrived in México in February of 1936 and stayed in the country during eight months. With his own words, he was searching for what he called by Mexican esoterism the only one that still rest on the blood and the magnificent of a land whose magic only the fanatics imitators from Europe can ignore. During his permanence, before going to Tarahumaras land, Artaud was the speaker for conferences in the National Preparatory School and wrote articles for the Mexican newspapers about the European theatre, the Mexican theatre, the French surrealist movement and his Mexican Indian culture expectation. He also wrote about his own experience about his existential search as an artist. However, his Mexico visit had been done in the post-revolutionary period, during the polemic and notorious Lázaro Cárdenas government, when there was a radicalization of the debate between the artists known as universalists and other as nationalists. The first ones, when defended a modern and universal art, commended the European art as matrix aspect repudiated by Artaud and the second ones, when asseverated a national art, pure, had utilized the Indian culture like nations unifier element, but without the respect for the magic and for the Indian esoterism that Artaud always had been preached. These aspects could integrate the hypothesis that explains the lack of repercussion about the French artist during his stay in the country. Artaud also projected in Mexico the perceptions that he created about the theatre. The artist was the idealizer of the Cruelty Theatre, and he recognized in the Peyotes ceremony practiced by the Tarahumaras Indians in Mexico an environment close to his theatrical project (AU) | |
| FAPESP's process: | 11/04629-5 - The Mountain of Signs: Antonin Artaud s search in the 1930s pos-revolucionary Mexico |
| Grantee: | Tânia Gomes Mendonça |
| Support Opportunities: | Scholarships in Brazil - Master |