This text presents the theatrical act as a passage, based on the observation of the actions of Thomas Richards and Mario Biagini that belong to a work protocol left by Jerzy Grotowski. This is the moment in which art as a vehicle, as Peter Brook wrote, merges with the art of the encounter. It is also the moment in which the experience transmitted by theatre causes the disappearance of boundaries and limits between scene, actor and spectator. The art of the encounter corresponds, then, to the inclusion of the spectator into the theatrical process which favours a return of the presence of oneself, the disappearance of self-estrangement.

/pdf/a-arte-do-encontro-uma-arte-da-distancia-de-thomas-richards-1ta57cahh8.pdf

Le bruissement de la langue

A Arte do Encontro, uma Arte da Distância: de Thomas Richards e Mario Biagini a Jerzy Grotowski

La escritura del acontecimiento: implicaciones discursivas

In order to understand the phenomenon of anonymity, we must consider the concept with respect to which it is traditionally defined: that of authorship, the named relationship between individuals and texts. In using the word “author,” we tend to imply both the technical, practical sense of one who writes or creates a text, and the more symbolic sense of an individual who takes creative responsibility for a work.1 When we use the shorthand formula “anonymous text,” we are usually referring to the unknown identity of the text’s originator: unknown whether through a lack of information, or through a deliberate choice made in order to avoid censorship, to create a buzz of curiosity, or out of convention.2 This article approaches anonymity from a different angle. The case it presents does not fit easily into any of these categories: it concerns an object that is not purely textual; an object that has several “authors,” or perhaps none at all; an object

http://muse.jhu.edu/journals/mln/v126/126.4.goodman.pdf

The Mask of Collectivity: Compositional Practices at the Comédie-Italienne

This article presents a hypothesis in which the author discusses the survival of two overlapping genres, such as ethnology and romance, in a novel. Books such as "La Femme la plus riche du Yorkshire, by Fouad Laroui, "Negre a Paris," by Bernard Dadie, and "Lettres Persannes," by Charles de Montesquieu including character interactions are examined. A discussion on the evolution of literature and globalization is also presented..

Ethnolitterature: survie de l'ethnographe ou du romancier?

In Roland Barthes by Roland Barthes the author claims to have passed through four phases, which he names, respectively:“social mythology,” “semiology,” “textuality,” and “morality.” Between the publication of this book in  and his death in , he performed his Inaugural Lecture at the Collège de France, entitled Leçon (). At the time of the Lesson, was Barthes entering a fifth phase?1 If the answer were to be yes, what theoretical propositions would this fifth phase have to offer? Some statements made in the Lesson and in his last texts, as well as some answers he gave in his last interviews, lead us to believe that such a new displacement was taking place. In Barthes’s own schema, the Lesson belongs to the fourth phase (“morality”), but it announces some positions which differ from those expressed in two works also attributed to this phase (The Pleasure of the Text and Roland Barthes by Roland Barthes). Before pointing out in the Lesson the aspects which would have suffered a displacement, it is worth rereading some of Barthes’s affirmations which are contemporary to or immediately following this lecture. In an interview published in Art Press, in , he reaffirmed his “displacement tactic”:“the function of the intellectual is to go always elsewhere when the going gets sticky.”2 Two years later, in an interview published in the magazine Lire, he indicated the direction he was taking. After declaring his classical taste, as a reader, he expressed some ethical doubts in relation to the positions sustained by himself in the last two phases—particularly the phase he called “morality”—asking: “Should we fight to kill meaning, or to destroy it? [. . .] The answers can only be tactical and they depend upon the evaluation of the historical point we have reached and of the battle we have to defend.” And he explained his personal point of view: “I think perhaps the time has come to fight a little less, to strive less for the texts, to recede somewhat. Tactically, I have in mind a slight receding: to deconstruct less and to practice a greater readability [. . .] I’ve changed the tactical reach of my practice.”3 In the Lesson, this tactical displacement is performed. The lecture aroused strong objections, mainly due to the assertion that “language is fascist.” What was less observed was that this provocative assertion intended to prepare, in the discourse, the ascend-

https://muse.jhu.edu/journals/yale_journal_of_criticism/v014/14.2perrone-moises.pdf

Le bruissement de la langue

Citations

A Arte do Encontro, uma Arte da Distância: de Thomas Richards e Mario Biagini a Jerzy Grotowski

La escritura del acontecimiento: implicaciones discursivas

The Mask of Collectivity: Compositional Practices at the Comédie-Italienne

Ethnolitterature: survie de l'ethnographe ou du romancier?

Lecon: Testament and Prophecy

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