Antonin Artaud's Notebooks, 1946-48: Amalgams of Text and Image

安东尼·阿尔托的笔记本，1946-48：文本和图像的融合

• 批准号: AH/D50029X/1
• 负责人: Stephen Barber
• 金额: $ 3.62万
• 依托单位: Kingston University
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2007
• 资助国家: 英国
• 起止时间: 2007 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FD50029X%2F1
• 关键词: Antonin; Artaud; Notebooks; 1946; 48

Antonin Artaud is one of the foremost and most influential figures in twentieth century culture; his work has been inspirational worldwide in the areas of literature, theatre, dance, filmmaking and digital art. Artaud worked with the French Surrealist movement in the 1920s, founded the legendary 'Theatre of Cruelty' in the 1930s, and undertook a series of cross disciplinary projects in art, performance and writing in the years before his death in 1948. During that final period, Artaud used a series of over two hundred notebooks as the raw material and launching point for those interdisciplinary projects. The content of the notebooks comprises an extraordinary amalgam of densely inscribed text and image, in the form of enmeshed notes and drawings. Although they form a vital element of Artaud's work and are pivotal in developing a complete understanding of it, these notebooks are little-known, in large part because of their 'virtual' status (held in a private collection, before undergoing a lengthy period of cataloguing) in the decades since Artaud's death; the notebooks have now become available for the first time for open consultation.The aim of the project is to produce a monograph on the subject of these notebooks and their status; work on that monograph is at an advanced stage, since I was able to view the notebooks, in less than ideal and improvised conditions, during the period when they still formed part of a private collection. My intention is to conduct a study of the documents, in their present archival context, at the beginning of my period of leave, and then a final checking of the documents at the conclusion of the entire research project. The primary objective of the project is to develop an authoritative account of the notebooks, and to present an assessment of their status, especially in relation to the other elements of Artaud's work. My intention here is to allow readers to have a more profound understanding of the interrelated elements of Artaud's work. Although particular aspects of that work are well-known, the notebooks reveal aspects of Artaud's working practices which will alter and question that existing understanding. A further objective of the paragraph is to reflect on the likely future of the notebooks, and on the process of digitiation which they will undergo in the coming years. Since the notebooks form intricate visual 'objects' (the pages often torn and damaged by gestures undertaken at speed), they raise particular questions as to the ways in which multi-layered documents, holding corporeal traces as well as complex arrangements of text and image, may adequately be represented and disseminated in a web-based medium. It may be that new formats and new media of digital dissemination must be developed in order to 'represent' such objects satisfactorily to their audiences. The project's own medium will be that of a monograph, and a further objective of the project will be to interrogate the extent to which the form of the book itself, as a 'definitive' repository of knowledge, may hold the traces of work which is defined by its immediacy, gestural energy, and elusiveness, as well as by that work's resistance to the processes of representation.The project is intended to be of value to a wide range of scholars, students and general readers engaged both with Artaud's work and with the media of literature, performance, visual arts and digital cultures. It will present new, primary-source research which will offer insights, and challenge preconceptions about its subject matter. It aims to generate the impetus for original and exploratory research, of an interdisciplinary nature, in the future. The project is also intended as a contribution to the development of new means of disseminating research documents and of redefining archival environments, and aims to form a probing exploration of some of the pivotal issues and dilemmas which remain to be confronted in that area.

安东宁·阿尔托是20世纪世纪文化史上最重要、最有影响的人物之一。他的作品在文学、戏剧、舞蹈、电影制作和数字艺术等领域都具有启发性。阿尔托在20世纪20年代与法国超现实主义运动合作，在30年代创立了传奇的“克鲁格曼剧院”，并开展了一系列跨学科的艺术项目，在他1948年去世前的几年里，他的表演和写作。在最后一段时间里，阿尔托使用了一系列超过200本笔记本作为这些跨学科项目的原材料和启动点。笔记本的内容包括一个非凡的混合物，密集的文字和图像，在交织的笔记和图纸的形式。虽然它们构成了阿尔托作品的重要元素，并且在发展对它的完整理解方面至关重要，但这些笔记本却鲜为人知，很大程度上是因为它们的“虚拟”状态（在经历漫长的编目之前，由私人收藏）在阿尔托去世后的几十年里;该项目的目的是编写一本关于这些笔记本及其现状的专题论文;这本专著的工作已进入后期阶段，因为我能够在不太理想和临时的条件下观看笔记本，当时它们仍然是私人收藏的一部分。我打算在休假开始时，在目前的档案背景下对这些文件进行研究，然后在整个研究项目结束时对这些文件进行最后检查。该项目的主要目标是对这些笔记本进行权威性的描述，并对它们的地位进行评估，特别是与阿尔托工作的其他内容的关系。我在这里的意图是让读者对阿尔托作品中相互关联的元素有更深刻的理解。虽然这项工作的特定方面是众所周知的，笔记本揭示了阿尔托的工作实践的方面，这将改变和质疑现有的理解。该段的另一个目的是思考笔记本的可能未来，以及未来几年笔记本将进行的数字化进程。由于笔记本形成了复杂的视觉“对象”（页面经常被快速做出的手势撕裂和损坏），它们提出了一些特别的问题，即如何在基于网络的媒体中充分呈现和传播多层文件，这些文件有着corpus痕迹以及文本和图像的复杂排列。也许必须开发新的数字传播格式和新的媒体，以便向受众满意地“展示”这些对象。该项目本身的媒介将是一本专著，该项目的另一个目标将是询问书本身的形式，作为一个“权威”的知识库，在多大程度上可以保持由其直接性，手势能量和难以捉摸定义的工作痕迹，以及该作品对再现过程的抵制。该项目旨在对广泛的学者有价值，学生和普通读者都参与了阿尔托的工作，并与文学，表演，视觉艺术和数字文化的媒体。它将提出新的，主要来源的研究，这将提供见解，并挑战有关其主题的先入之见。它的目的是为今后跨学科性质的原创性和探索性研究提供动力。该项目还旨在促进发展传播研究文件和重新界定档案环境的新手段，并旨在对该领域仍将面临的一些关键问题和困境进行探索。