Writing of the viceroy of Sardinia who, at the beginning of his essay in “The Movie theater and this Plague, ” “had a particularly afflicting dream, ” Artaud asks: “But could it be too late to prevent typically the scourge? Even demolished, possibly blue , even pulverized together with taken to the pretty marrow, he is aware that do not die inside our dreams, frequent are going to operates even in absurdity, even in the negation connected with possibility, even around the métamorphose of lies from which fact can certainly be remade” (15). In the event the viceroy “wakes up” with this knowledge, as if in between the dog and plague right now there was “a palpable communication” (17)—confirming Artaud in “the belief of symbols plus archetypes which often act just like private blows, beds down, leaps of the heart, subpoena of the lymph, other pictures thrust into all of our abruptly wakened heads, ” name the powers “we are as symbols” (27)—the challenge with symbolist drama (as with expressionism later) is usually that the thrilling promise regarding a transfigured fact, for you to which we break through typically the dreaming, leaves you having the everlasting irony of something to be desired, certainly not in contrast to the phantasm of online reality in a cyberspatial world. We all seem to be assured something other, outside, over and above, outdoing to all physical appearance the particular system of manifestation, but if there's an
109044, г. Москва
ул. Воронцовская д.36 стр.1
Таганский район (ст.м. Пролетарская)