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the secret art of Antonin Artaud

Jacques Derrida & Paule Thvenin translation and preface by Mary Ann Caws The MIT Press Ca brid!e" Massachusetts #ondon" $n!land

%ri!inally published by &chir er'Mosel (erla!" Munich" )*+, - &chir er' Mosel" M.nchen and Jacques Derrida Preface - )**+ Mary Ann Caws This translation - )**+ Massachusetts Institute of Technolo!y The photo!raphs of Antonin Artaud in this boo/ were ta/en by 0eor!es Pastier in )*123 All ri!hts reserved3 4o part of this boo/ ay be reproduced in any for by any electronic or echanical eans 5includin! photocopyin!" recordin!" or infor ation stora!e and retrieval6 without per ission in writin! fro the publisher3 This boo/ was set in &tuyvesant and 0iovanni by 0raphic Co position" Inc3 Printed and bound in the 7nited &tates of A erica3 Library of Congress Cataloging-in-Publication Data Thvenin" Paule3 8 Antonin Artaud3 $n!lish9 The secret art of Antonin Artaud ' Jacques Derrida and Paule Thvenin: translated by Mary Ann Caws3 p3 c 3 Abrid!ed translation of3 Antonin Artaud3 )*+,3 ;ith new illustrations by 0eor!es Pastier3 Thvenin<s na e appears first on the ori!inal edition3 Includes biblio!raphical references3 I&=4 >?@,@?>1),A?> 5hardcoverB al/3 paper6 )3 Artaud" Antonin" )+*,?)*1+ ?? Criticis and interpretation3 @3 Portrait drawin!" Crench3 D3 Portrait drawin! ?? @>th century ?? Crance3 13 Drawin!" Crench3 A3 Drawin! ?? @>th century ?? Crance3 I3 Derrida" Jacques3 II3 Title3 4C@1+3A2@T12)D )**+ 21)E3>*@ ?? dc@) *2?11,D2

$ach ti e I happen to recall ?? nostal!ically ?? the surrealist rebellion as eFpressed in its ori!inal purity and intransi!ence" it is the personality of Antonin Artaud that stands out in its dar/ a!nificence" it is a certain intonation in his voice that inGects spec/s of !old into his whisperin! voice3 3 3 3 Antonin ArtaudB I do not have to account in his stead for what he has eFperienced nor for what he has suffered3 3 3 3 I /now that Antonin Artaudsaw" the way Hi baud" as well as 4ovalis and Arni before hi " had spo/en of seeing3 It is of little consequence" ever since the publication of Aurelia" that what was seen this way does not coincide with what is objectively visible3 The real tra!edy is that the society to which we are less and less honored to belon! persists in a/in! it an ineFpiable cri e to have !one over to the other side of the looking glass3 In the na e of everythin! that is ore than ever close to y heart" I cheer the return to freedo of Antonin Artaud in a world where freedo itself ust be reinvented3 =eyond all the undane denials" I place all y faith in Antonin Artaud" that an of prodi!ies3 I salute Antonin Artaud for his passionate" heroic ne!ation of everythin! that causes us to be dead while alive3 Andr =reton" IA Tribute to Antonin Artaud"I pp3 22?2*" in Free Rein (La Cl des champs " trans3 Michel Par entier and Jacqueline d<A boise 5 #incolnB 7niversity of 4ebras/a Press" )**A6

Contents
Preface: Derrida's Maddening Text: AR-TAU J Mary Ann Caws J The earch for a Lost !orld J Paule Thvenin J To Unsense the ub"ectile J Jacques Derrida J iF ) A*

#reface: Derrida's $addening text: ARTAU


Mary Ann Caws

%nly the title of the ori!inal publication of Paule Thvenin and Jacques Derrida<s co entary on Antonin Artaud<s art is si pleB Antonin Artaud! dessins et portraits" #verything else is of a complication you can really sink your mind into" $errida%s

te&t' (Forcener le subjectile()) an e&pression that forces' incarcerates' and maddens in a touch of unfathomable genius )) deals fathoms deep with what underlies a te&t like that of Artaud himself' so visually' verbally' heroically mad" *t sets out to further a fren+y' to unsense completely' to set things askew )) forever" The lan!ua!e is already layers deep in strainB since this volu e was to appear first in 0er any" and ori!inally only there 5MunichB &chir er' Mosel (erla!" )*+,6 and not in Crance" Derrida<s Crench teFt" prepared for 0er an readers" addresses" in footnotes and asides" the difference between the #atinity of Crench and the anti?#atin nature of 0er anB IKow will they translate thisLI I0er an has no way of sayin! 3 3 3I IMou are readin! in 0er an here3 3 3 3I As the Crench version leaves those strains in" so does the $n!lished version" deliberatelyB the strain contributes to the depth3 Derrida<s Crench stru!!les with Artaud<s peculiar lan!ua!e" as with the predicted 0er an reception to his stru!!le: Gust so" the translator into $n!lish stru!!les with both" a!ainst and alon! with the otherness" I i!ht say the forei!nness" of Artaud hi self3 To be sure" his other ton!ue is not ine" but he did not want it to be his either" lashin! out as he did a!ainst anythin! ree/in! of the Ifather other3I Just as the stran!eness" the forei!nness of Artaud<s lan!ua!e" even before HodeN" eFacerbates the serious !ap between ori!inal and translation5s6" it enables Derrida to find" to force and frenNy and unsense the underlyin! support of canvas" paper" teFtB this subGectile of which the initial passa!e spea/s at such len!th and in such difficult depth3 It is arvelously and strictly unbearable3 Derrida warns a!ainst anyone tryin! to spea/ li/e Artaud" in order to IunderstandI hi 3 Kis own spea/in! here is addressed toward what underlies both lan!ua!e and art li/e a support" at once the subGect?he and the subGect?sheB this so?called IsubGectileI which is his subGect" and which is not to be translated3 ;hich will" says Derrida" never cross the border of Crench3 ;hich is both ale and fe ale" and at the sa e ti e serves as birthin! table for teFt and canvas" as the ater' atriF'pater" whose double? sensed couches si!nal at once the labor of birthin!" and the layers and layers underpinnin! what we hear and see and call by the na e of art3 The subGectile is in couches" literally !ivin! birth" and in layers" prehistoric" historic" and posthistoric3 If it is havin! birth pan!s" so is this teFt" so lon! to co e to $n!lish3 The subGectile is ultiply contrarianB atriF and fiend" belyin!" birthin!" and betrayin!3 The teFt of $errida is no less frenNied than that of Artaud" inscribed in the surface and the undersurface" the subGectile of his drawin!s and portraits cast as spells3 The best the translator can hope for is not to brea/ the spell3 7nder this spell" any address or s/ill ris/s a sudden turn into what Artaud calls I aladresse"I a very serious aw/wardness" seriously ta/en and received ?? as in 0od<s own ista/ennessB Ila maladresse se&uelle de dieu3I The rather ore strai!htforward teFt of Paule Thvenin describin! the history of Artaud<s art and drawin! up the list of its na in!" and the teFt of Derrida" brilliantly inscribed in the na e of this adness outpoured" ori!inally ade up this ost Gustly addenin! catalogue irraisonn for an eFhibition of frenNy3 The proGect calls for a renderin! that can espouse AH?TA7<s willed self?proGection past his na e and lan!ua!e" past any other ton!ue at all3 This boo/ should be read" says Artaud of his writin!" li/e a usical score3 I;e won<t be describin! any paintin!s"I says Derrida3 And indeed" this teFt will read li/e a

dra a without words" li/e a descriptionless editation on the birth of essences that call for no description3 The narrative has no plot outline" Gust a nonreferential play of editation refusin! any sub ission to the custo ary outlayin! of events and pictures you can prendre' comprendre3 Mou can ta/e Derrida up" but you cannot ta/e hi 3 Ke plays with the letter" rollin! Artaud<s letters with hi " throu!h hi " li/e thunderB TH" =H" HA" a/in! incisions li/e Artaud<s own fla in! of faces and teFts3 Kere the atch was lit" here is the hole" here the tear3 The teFt is" li/e the portraits and drawin!s" a!nificently terrible" in the sense of 0erard Manley Kop/ins (,errible -onnets( ?? truly terrifyin!3 A on! all the pictures ?? picto!ra s ?? that Artaudcommitted" yes that is the best word for it" La .achine de l%/tre' ou $essin 0 regarder de traviole (,he .achine of 1eing' or the $rawing to 1e Looked at -ideways stic/s in y ind3 It is at the center of the strain3 =ecause of the fi!ures" hu an and half?hu an" off balance" and the tablets of writin! a!ainst the ochre" !reen" and e!!shell bac/drop: because of the circles there" filled with their own ru blin!s and rollin!sB Iroule dans la rotule 3 3 3I: and because of the intense disco fort of the whole thin!3 I.ais 2a n%ira pas encore"I reads one of Artaud<s tablets" and we /now it to be true3 This won<t do yet" not this picto!ra of sufferin!" not this Crench renderin! of an other for the 0er an viewers and readers" not this $n!lish renderin! for An!lophones" not these frenNied and frenNyin! answers to Artaud<s teFts3 The two words in the lower ri!ht corner of the drawin! readB Idessous droitI ?? ri!ht above his si!nature" itself underlined and neat3 4o atter how strai!ht up ?? droit ?? we i!ht have wanted to hold ourselves in the face of these eFtraordinary testi onies to vitality as to adness" we will have the feelin! of bein! dessousB under this birthin! table" under and subGect to the subGectile that itself refuses to be do inated by the writin! process3 Forcen3For)senB unsensed by !enius" but not senseless3 Cor unsense has in it the peculiar echo of an incense3 3 3 so ethin! is consecrated here3 &ense is not si ply lost" it is !ravely undone3 There is a serious difference3 %f his oddly lovely labyrinth of an essay" (Forcener le subjectile( with its central discussion of the subGectile incarcerated in his co entary on the picto!ra to be loo/ed at sideways" Jacques Derrida as/sB IA I even writin! in CrenchLI ?? Ke is perhaps as/in! it of us also3 To his forcin! ?? for)sells ?? and beyond?sense sense of lan!ua!es that addens what it touches and who hears it" I have !iven the only response I couldB loo/in! at the picto!ra s sideways and strai!ht on" before translatin! the entire teFt: then" waitin! for the teFt to !row in e: and finally" retranslatin! it two years later" and a!ain three years beyond that" to !ive it these layers or couches of response" its labor pains of $n!lish birth3 Paule Thvenin devoted her life to the edition of the wor/s of Antonin Artaud" whose close friend she was3 It was on the walls of her apart ent that Jacques Derrida saw those paintin!s and drawin!s" and it was she who su!!ested he write his essay3 It is deeply re!rettable that the Artaud estate did not allow us to use in this volu e the reproductions of the very paintin!s and drawin!s that were at the ori!in of these teFts3 5Many of the can be found in two other publicationsB Mary Ann Caws" Antonin Artaud! 4orks on 5aper 8 Museu of Modern Art" )**,9 and ,he -urrealist Look! An #rotics of #ncounter 8 MIT Press" )**2936 It is also deeply ironic" !iven Jacques

Derrida<s wor/ on the absence of ori!in3 ;e have chosen" in their stead" the eFtraordinary i a!es of Artaud by 0eor!es Pastier that capture" ore than any others" his tortured !enius3 Mary Ann Caws 4ew Mor/" 4ove ber )**,

the secret art of Antonin Artaud


OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO

the earch for a lost %orld

Paule Th&'enin

Antonin Artaud used to say he had really learned to draw and paint durin! his stay in Dr3 Dardel<s establish ent" #e Chanet" near 4euchPtel in &witNerland3 Ke arrived in the fall of )*)+ and left in the be!innin! of )*@>3 4evertheless two of his first preserved !raphic wor/s were dated )*)A3 In both cases the date was !iven ?? althou!h far later ?? by his sister" Mada e Malaussna3 %ne is a

tiny !ouache" the siNe of a postcard" which was part of an eFhibition in )*22 at the 4ational =oo/ #ea!ue" in #ondon" and which is said to represent a landscape at ChPtelard" &avoie3 ;e can suppose it to have been dated accordin! to youthful e ories of various fa ily vacations in the ountains" but such e ories are often sli!htly haNy3 The second is a self?portrait reproduced in Dece ber )*A* in La ,our de feu where it is represented as a charcoal done in )*)A in Marseilles3 The line is very fir " far ore confident than that of the charcoals done in )*)* at #e Chanet3 =esides" the treat ent of the hair re inds us of Artaud<s haircut as it appears in pictures ta/en between )*)+ and )*@)3 And the hi!h shirt collar is the one he used to wear in those years3 Mada e Malaussna no doubt had her reasons for datin! this selfportrait fro the ti e in Marseilles" but I would rather date it after his return fro #e Chanet in the be!innin! of )*@>3 Two si!ned wor/s ) a on! those that have reached us" and which Artaud ust have thou!ht of as finished" date fro the year he spent in &witNerlandB the charcoal of a youn! patient in the care of Dr3 Dardel @ and a still life in oils" three apples in a dish" with CNanne<s shades of blue and rather beautiful3 Antonin Artaud had !iven it to a !irl his a!e" Hette $l er" who had co e to #e Chanet in July and Au!ust )*)* to be with her father" also a patient in the clinic3 They had beco e friends" and that friendship lasted well into her arria!e with Hen #a y in )*@>3 Althou!h after )*@A their relationship beca e less inti ate" by dint of circu stances" Antonin Artaud had sufficiently i pressed her for her to have /ept this little oil han!in! all her life on one of her walls" and to have preserved a few drawin!s and !ouaches fro the &wiss period3 These wor/s" all s all in siNe" show sensitivity" taste" and a certain feelin! for color3 They show also that Artaud had always /nown how to loo/ at the ost conte porary paintin!" fro the i pressionists to the fauves" that he ust have /nown the sy bolists very well" and that he had been deeply oved by the anFious landscapes of $dvard Munch3 )*@>B he arrived in Paris after a brief stay in Marseilles3 ;e /now that his parents had entrusted hi to Dr3 $douard Toulouse" the doctor in char!e of the asylu at (illeGuif" whose a bition it was to isolate and study the echanis s of !enius" and who had for that purpose chosen a nu ber of the hi!hly intelli!ent persons of his ti e" fro Qola to Poincar" includin! Mallar " #oti" Daudet" and any others3 &o there was nothin! surprisin! about his thin/in! Antonin Artaud a choice recruit3 This probably eFplains why Antonin Artaud was first housed in the ho e of the ental specialist and his wife Jeanne" which was not a current practice at the ti e3 After that he was to live alone" but in (illeGuif itself and very near their ho e3 The fortunate consequence of these particular circu stances was that any of his drawin!s of the years )*@>?)*@) were /ept by Jeanne Toulouse3 &o e of the " which she turned over to Mada e Malaussna" were shown in the #ondon eFhibition3 Antonin Artaud<s interest in paintin!s" drawin!s" and en!ravin!s is also obvious in his first years in Paris" the years of his be!innin!s in the theater3 In the Gournal founded in )*)@ by Dr3 Toulouse" $emain" of which he beco es the coeditor with 0onNa!ue Truc" and whose onthly appearance beco es increasin!ly proble atic until it disappears in )*@@" and in L%6euvre" the theater newsletter directed by #u!n?Poe" an authentic art lover who had hired hi in April of )*@>" he publishes several reviews of &alons and articles on paintin! that reveal his tastes and his conception of visual wor/B I;hy do you paintL Mou paint to say so ethin! and not to verify theories3 And

what you have to say can only be said with the for s surroundin! us3 ;hen we say so ethin!" they are what we say3I D =ut these for s throu!h which the painter spea/s to us have no eanin! unless they have been thou!ht before" and correspond to what he Gust discovered and was tryin! to reveal to us3 The wor/ is not a !oal to be attained" but a eans3 &o what counts ore than anythin! else is the eFpression it trans its" either that of a certain aturity of an art or the secret vital palpitation of a odel3 IThe subGect atters little" li/e the obGect3 ;hat atters is the eFpression" not the eFpression of the obGect" but of a certain ideal of the artist" of a certain su of hu anity eFpressed in colors and lines3I 1 Any inele!ance or clu siness are of no account" if the deep discourse of the artist has co e throu!h the canvas or the paper in so e way3 The wor/ is a ove ent whose ori!in is one intense absolute o entB the encounter between whatever of the odel 5even if it is a concept" an abstraction6 passes into the eye and the head of the artist" and this i pulse to eFpress it which will ove his hand3 And this ove ent continues far past the o ent when the hand that trans itted it has ceased ovin!3 It a/es the canvas or the paper tre ble" vibrate" before this eye of the other watchin!" and years or even centuries afterward can continue to play on the nervous i pulse that produced the !esture3 %f all that Antonin Artaud is already persuaded in )*@>?)*@)3 And it is surely not by chance that" spea/in! of paintin!" he evo/es the artist<s dictionB IThe drawin! passes over to the second level3 I don<t ean the direction of the line" but its eFecution3 ;hen the artist has thou!ht out his wor/ with a certain profile" nothin! of what he had to say bein! absolute" when the fullness of diction has answered the fullness of eFpression" what does a wea/ or falterin! stro/e atterLI A Perhaps the voice" ore than the !esture or the !aNe" acts as if hypnotically upon the nervous te pera ent" producin! al ost a!ical effects3 And the diction of the artist 5that is to say" his way of eFpressin! hi self6 ust be Gust as active and persuasive" accordin! to Artaud" for throu!h it will pass this profound truth" this truth i a!ined" by a for idable effort" for hi self and his word3 Above all" it acts as a relay between different sensitivities in their interactions3 That is why the intensity of the eFpression is pri ordialB IIt is perfectly clear" in the last analysis" that a paintin! ta/es its value fro the eFpression3 =y the eFpression" I don<t Gust ean a certain way of lau!hin! or weepin!" but the profound truth of art3I , =y its eans the interpreter will a/e hi self understood" will a/e us understand what he has to say to us" only possible if he ana!es to disturb the or!anis in its ost inti ate ra ifications3 The i portance that Antonin Artaud !ives to eFpression in paintin! is co parable to that of representation in Le ,h7tre de la cruaut 5The Theater of Cruelty6" and what he will then write about scenic lan!ua!e could apply to paintin!: the word spectacle would be replaced by the word pictureB IThis is to say that poetry co es to inhabit eFterior obGects and that fro their asse bly and their choice it draws stran!e consonances and i a!es" everythin! in the spectacle ai in! at eFpression by physical eans involving the ind as well as the senses3I 2 This very necessity of eFpression leads the artist to be only sli!htly preoccupied with tryin! to reproduce apparent reality ?? and" after all" what is this reality anyway" and does it even eFistL It is scarcely by the faithful reconstitution of for s that he can brin! forth fro the canvas or the paper this vision that i posed itself on hi " that his !enius alone per itted hi to !rasp" and that he can pass on to us only at the price of necessary defor ationsB I;hy does the painter defor L =ecause the odel in itself is nothin!" but the result is everythin! the odel i plies about hu anity" everythin! that" throu!h the odel" can be said of life stor y and fri!htened" an!uished or becal ed3I +

Headin! these lines" we can<t help thin/in! that twenty?five years later" at the end of his life" Antonin Artaud will a/e of the human face the battlefield for a frenNied stru!!le between the forces of life and death3 =ut" in )*@)?)*@@" drawin! is at ost for hi Gust a possibility3 Ke has acquired a certain s/ill3 Kis !lance is rapid and his hand adroit3 Ke has been accepted in the Atelier co pany" and Dullin" who /nows how to use the talents of those who wor/ with hi " is puttin! to so e use his !ifts for drawin!3 ;ritin! in Cebruary?March )*@@ to Mvonne 0illes" a youn! painter who he et in )*)2 at Divonne?les?=ains" a ther al station where she went at the sa e ti e he did" he tells her he has busied hi self with the decors and has drawn a Karlequin for the cover of the co pany<s pro!ra 3 Cor the first spectacles presented by the Atelier in March and April )*@@" the na e of the sta!e desi!ner is not entioned" Gust that of the costu e desi!ner3 Antonin Artaud had desi!ned the costu es for ,he 6lives of #ope de Hueda and ,he 8ostelry of Crancesco de Castro" and he ay also have desi!ned the decors of these two one?act plays" which were supposed to be free of anecdote" accordin! to the aesthetic preferences of Dullin3 In June" he will a!ain desi!n the costu es for CalderRn Life *s a $ream 8La vida es sue9o9" the decorative panels done by the painter Andr Craye3 =ut he ust have felt his talents eFploited without receivin! proper co pensation when" at the end of July )*@@" he declares to 0nica Athanasiou that he will no lon!er desi!n costu es for anyone but hi self3 Cew traces re ain of the wor/ he did that yearB the desi!n of a costu e for ,he 6lives" a portrait of 0nica in the role of $strelle in Life *s a $ream" a few photo!raphs of this spectacle in a a!aNine" and the Karlequin3 Durin! the su er" he desi!ns costu es for Jacinto 0rau Count Alarcos3 This play" in a translation by Crancis de Mio andre" will be announced in the repertory of the Atelier for the )*@@?)*@D seasons" * and Antonin Artaud ust have been secretly hopin! that the sta!in!" the decors" and the costu es would be entrusted to hi 3 4one of these drawin!s has co e down to us3 The only eFtant drawin! fro that su er is that of a costu e for a ballet on the the e of fire" conceived for 0nica3 Durin! the neFt theatrical season" he will do nothin! of that sort either for Dullin" after leavin! hi " nor for any of the desi!ners with who he will wor/ on the scenes of the Cha ps?$lyses" PitoSff in particular3 Two self?caricaturin! portraits drawn in letters to 0nica ar/ the ti e he spent in PitoSff<s co pany3 Also conserved" done on separate sheets and slipped into the envelope of a letter sent 4ove ber )@" )*@D" to 0nica" are a portrait of the latter and another self?portrait3 A s all picture after Picasso ,wo Friends" datin! fro the sa e period" has also co e down to us3 Kowever" that year Antonin Artaud had started on oils a!ain3 Probably ur!ed on by Mvonne 0illes" he undertoo/ in May to do her portrait" )> which had already been proGected in &epte ber )*@)" and one of her father3 Ke was apparently dissatisfied with the first resultsB IThe two portraits that I started are unworthy stuff"I )) he writes to 0nica on May ," )*@D" !ru blin! about haulin! his canvases and boFes of paints to =oulo!ne3 Ke ust not have wor/ed very hard" because" in 4ove ber" when the portrait of the !irl was still not finished" he proposes to her to co e pose in his hotel roo " on avenue Montai!ne3 )@ There is a !ood chance that he never finished either one or the other and that he destroyed these s/etches3 Ke see s after that not to have drawn or painted very uch3 Two architectural s/etches illustrate his response to the survey on the (#volution of the -tage -et'( which appeared in Comoedia on April )*" )*@13 They are both attributed to hi " and

destined for I La 5lace de l%amour 8The Place of #ove8" a ental dra a inspired by Marcel &chwob3I )D =ut Andr Masson clai s to have done the and says he drew the accordin! to Antonin Artaud<s indications" for hi to use the as he would li/e3 Andr Masson<s e ory is eFcellent and he has never varied in this affir ation3 Mou can see here a first si!n of Antonin Artaud<s disaffection fro this ode of eFpression: he was certainly capable of drawin! these sche as hi self" and we can i a!ine that those he !ave as odels to his friend ust not have been so different3 Kowever" he preferred for their final for the touch of the painter rather than his own3 %ne self?portrait" which ust date fro the years )*@1?)*@," was reproduced as the frontispiece of a story by Marcel =aluB (La 1oucheouverte( ouverteI 5The %pen Mouth6" of )*A@3 This drawin! in pencil" !iven to Marcel =alu by MaF Jacob toward )*D+" was done in MaF Jacob<s roo on so e table" one day when Artaud had co e to see hi 3 MaF Jacob<s correspondence tells us they saw each other often in %ctober )*@1" )1 and the eFpression of the face in this self?portrait is very close to the eFpression cau!ht in one of the photo!raphs Man Hay too/ of hi in )*@,B a fierce loo/" his lips closed ti!htly upon so e untellable" un!uessable tor ent3 The !raphic anifestations of Antonin Artaud will beco e pro!ressively ore rare3 In )*@2" writin! to 0er aine Dulac about the sta!e sets planned by the latter for La Co:uille et le clergyman 5The &eashell and the Cler!y an6" he a/es clear for her" in a s/etch" how he sees the ballroo with its platfor and the /ind of doors he would li/e for it3 )A A Ibad drawin!I was included in a letter written on &epte ber @D" )*D@" to Andr Holland de Henville3 ), A lost drawin!3 I had in y hands" about thirty?five years a!o" so e notes ta/en in )*DD by Antonin Artaud inspired by the $ictionnaire de la 1ible' by ;igorou&' at the time when he was gathering the documentation indispensable to him for 8liogabale ou L%Anarchiste couronn (8eliogabalus' or ,he Anarchist Crowned < he had added three pen drawings reproducing some illustrations of the work he had consulted" => ,he manuscript and the drawings must now be dormant at some collector%s" Finally' in =?@A' on the back of two manuscript pages of the Cenci' he draws three schemas of the sets he would have wanted for his play" Bust as he had done ten years earlier with Andr .asson' this was doubtless to suggest to 1althus the scenic architecture he had in mind" -o Antonin Artaud almost completely stops drawing toward =?CD" At that time he fre:uents the rue 1lomet where Andr .asson had set up his studio' with .irE' $ubuffet' and .alkine as neighbors" *n -eptember =?CD' his correspondence with Bac:ues RiviFre' which deals with the ontolo!ical i possibility of his producin! a wor/ and of brin!in! forth his thou!ht" is published in La Gouvelle Revue fran2aise" Andr 1reton is :uick to appreciate the importance of these few pages' whose inflammatory violence could not have left him insensible" ,heir encounter has a logical' inevitable cast to it< it seems to be part of the normal order of things that' shortly thereafter' Antonin Artaud should have committed himself unreservedly to the surrealist movement" -urrounded by young men full of talent' graphic e&pression being for many of them far more of a necessity than for him' it must not have been entirely coincidental that he gave it up" 1elieving Andr .asson to be (the greatest painter in the world'%% =H could he resign himself to appearing as just a gifted amateurI Certainly not" And all the less since he e&periences the devouring need to

pursue the work of elucidation started by the correspondence with Bac:ues RiviFre" From then on' the suppleness and subtlety of writing open for him a more appropriate domain in which he becomes particularly fecund" *n less than two years he writes L%6mbilic des limbes (,he Jmbilicus of Limbo ' Le 5Fse)Gerfs (,he Gerve)4eigher ' and those prose pieces with their language at once precise and flamboyant' those iridescent poetic objects of L%Art et la mort (Art and $eath " 1ut painting remains a presence in the te&ts of these years< at least three are written under the inspiration of Andr .asson%s work' admittedly or not" And doesn%t (L%Automate personnel( (,he 5ersonal Automaton ' in L%Art et la mort' take as its point of departure a portrait that Bean de 1osschFre had just recently done of him' with which he associates (the strength of a fi&ated dream' as hard as an insect%s shell and full of legs darting out in all directions of the sky(I =? From the end of =?CK' after these two years of intense life in which he marked surrealism with his stamp )) with such an ardor' such a fury that Andr 1reton himself was shaken by it and feared seeing the movement e&haust itself in (a certain paro&ysm( CL )) Antonin Artaud again turns toward the theater' but this time as an animateur and designer! this marks the creation of the ,h7tre Alfred Barry"

#ucas van #eyden" Lot and 8is $aughters" ),>*3 Muse du #ouvre" Paris3 Photo 0iraudon'Art Hesource" 4ew Mor/3

Cor hi " the theater as it is seen in the ;est is denatured and oribund3 Ke ust restore this Itrue realityI @) that it has lost" lettin! it Ifind a!ain this character of a unique" unheard?of thin!"I the inte!rity Ithat certain written or painted ideas have

retained3I @@ ;ritin!" paintin!" usic" theater are so any diverse eans of brin!in! forth what is buried and shadowed in our own depths" brin!in! it to li!ht" tryin! to render it perceptible3 Theater" able to utiliNe different edia" shows in addition this essential particularity of not bein! able to do without the public" this ultiplied body that the public is" and havin! to act upon it by the inter ediary of the actor<s body3 Ai in! to be a I a!ical operation"I @D the theater can only be a Itotal spectacle"I @1 and for that it ust have Ithat total freedo which eFists in usic" poetry" or paintin!" and fro which it has been until now curiously estran!ed3I @A Thus" fro )*@," the date on which his atte pt to establish an Iinte!ral spectacleI @, leads hi to a theoretical reflection on the theater" ar/ed by anifestos" until May )*DA when he ana!es to sta!e Les Cenci" Antonin Artaud will never cease to ta/e account of paintin!" either paintin! in itself or ta/en as an ideal odel" or paintin! in the for of visual representation su oned by the theater which intrinsically cannot do without i a!es3 %ne of the reco!niNed obGectives of the ThPtre Alfred Jarry is to Ivivify a certain nu ber of i a!es" evident" palpable" unsullied with an eternal disillusion" 3 3 3 to succeed in showin! everythin! so far obscure in the ind" buried" unrevealed" in a sort of real aterial proGection" 3 3 3 brin!in! forth for all to see a few tableauF" undeniable and indestructible i a!es that will spea/ directly to the ind3I @2 %nce a!ain" everythin! he says could be said not of co on illustration or banal i a!ery" but of all true paintin!3 And it is not surprisin! that it is also present in what Antonin Artaud thin/s" i a!ines" conceives3 To ne!lect this fact would be to deny the i portance of color and its sy bolics in 8liogabale ou L%Anarchiste couronn3 It would be to for!et that a visit to the #ouvre" in &epte ber )*D)" acted as a tri!!erB loo/in! at Lot and 8is $aughters of #ucas van #eyden" Antonin Artaud is suddenly struc/ by the profound rese blances that eFist between the Ista!in!I of the painter" such as it is presented on this canvas" and the !estural syste of the =alinese dancers who appeared at the Colonial $Fposition3 The analo!y see s so stron! and evident to hi that he will a/e it the the e of a lecture" first entitled (5einture'( which will beco e (Le ,h7tre et la mtaphysi:ue"( And it is the only one of the teFts a/in! up Le ,h7tre et son double with references to the lan!ua!e of art3 %f the representations of the =alinese theater which are for hi even ore than a revelation" the odel of everythin! the real theater should be" he says that the actors Iwith their !eo etrical robes see ani ated hiero!lyphs"I @+ that their spectacle e bodies Ithe sense of a new physical lan!ua!e based on si!ns"I @* that they !ive us a I arvelous co posed of pure scenic i a!es"I D> that they /now how to convey in sound Icolorful allusions to natural i pressions3I D) Cor the !estures of an actor are so any ephe eral arabesques drawn with his body" the actors to!ether constructin! a sort of ovin! and colorful !raphis a/in to paintin!" havin! the sta!e for its fra e3 $verythin! ust concur in this new lan!ua!e the theater requires" Ithis lan!ua!e co posed of si!ns" !estures" and attitudes" with an ideo!raphic value"I D@ where the face contains for the desi!ner what it does for the painter" its innu erable eFpressions beco in! so any eloquent si!ns" and where" Gust as if it were a question of conceivin! a paintin!" Ithe ten thousand and one eFpressions of the face" considered as as/s" can be labeled and catalo!ued so that they can participate directly and sy bolically in this concrete lan!ua!e of the sta!e3I DD &o it is natural that Antonin Artaud as he reflects on the theater should constantly allude to paintin!" wishin! that the i a!es created upon a sta!e could stri/e us in the sa e way as Ithe ni!ht ares of Cle ish paintin!"I D1 and seein! in certain canvases"

li/e the fantastic $ulle Mriet of =reu!hel" for eFa ple" prodi!ious and silent sta!e settin!sB Itheater is swar in! throu!h it3I DA =ut to the eFtent that theater" beyond si!ns" lines" and color" places at his disposition ove ent and words with all the infinite odulations of the voice" of usic and its rhyth ical scansions" bein! far ore co plete for hi than any pictorial representation it eets all the require ents of the visual arts3 ;hich probably eFplains his apparent renunciation of drawin!3 %nly apparent" because he never ceased proposin! for the spectator those various corporeal interweavin!s" those wavy otions of for s and bri!ht shapes of the fu!itive and obile tableauF which no sooner appear than they disappear in the sta!e air" and whose fu!acity and fra!ility co pose their value3 And it ust be said that it is after the relative respite of the MeFican atte pt ?? that year spent outside of $urope" when he tried desperately to participate in the cultural" social" and political life of a country" deter ined at the sa e ti e to find once ore its pri itive spirit 5Ithe one that cannot see what is" because nothin! eFists in reality" but which" by the brush or pen" reproduces what it supposes" and what it supposes is always in the easure of its li itless i a!inationI6" D, the pri itive spirit that created the divine for s buried in the useu s or the archaeolo!ical sites" whose revival he thou!ht he had discovered in certain youn! conte porary MeFican artists 5in particular the painter MarTa INquierdo whose !ouaches he will brin! bac/ to Paris" or!aniNin! an eFhibition of the in a !allery on the boulevard Montparnasse6" after that sort of truce and lon! after he !ives up the drea of realiNin! a total theater ?that a!ain in )*D2 there will appear fro his hand" upon a white pa!e" !raphic si!ns3 Cirst placed there to si!nal a particular passa!e" or as an infor ative supple ent" these si!ns will ta/e on very rapidly an autono ous function" especially in the letters sent fro Ireland" where Antonin Artaud" who has shown his wish to lose his identity co pletely as a writer" co es" al ost co pletely destitute" to eet his tra!ic destiny3 (ery often" durin! those onths of Au!ust and &epte ber )*D2" his si!nature is acco panied by a triple si!nB the sy bol of the fe inine seF ?? which is also that of the planet (enus ?? au! ented with an oblique stro/e at its su it" on top of two trian!les with the point upward" an al ost a!ical si!n" as are for hi the two weapons he has procuredB a little Toledo sword that a blac/ sorcerer is supposed to have !iven hi in Kavana" and a /notted cane that he says he !ot fro a &avoyard sorcerer" thin/in! it to be the very cane of &aint Patric/" the patron saint of the Irish" a cane with which he will haran!ue the passersby in Dublin in a lan!ua!e that he doesn<t /now very well3 Also fro Dublin will co e those first issives" conGuratory and protective or offensive and vindictive" that he calls Ispells3I ;ritin! no lon!er has as its sole function that of trans ittin! a essa!e or a thou!ht: rather" it ust act by itself and physically3 $verythin! is studied" calculated so as to stri/e the eye" and throu!h it the sensitivity" of the person for who the spell is destinedB the disposition of the lines on the pa!e" the very careful calli!raphy" the variations in siNe or hei!ht of the letters" the frequent use of capitals" the way the words are underlined3 #ines are so eti es displaced and si!ns are added3 At ti es" especially when the spell is an a!!ressive one" the paper is intentionally spotted in places" and" in others" burned and perforated with a lit ci!arette3 ;e /now the fri!htful denoue ent of the trip to IrelandB the intern ent at #e Kavre" the last day of &epte ber )*D2" an intern ent of nine years3 In May )*D*" at (ille? $vrard" Antonin Artaud a!ain starts to fabricate his spells3 These are uch ore

elaborately drawn and particularly ore colorfulB ainly the violet" the red" and the yellow ochre spread out in wide swaths on the paper that will be devoured subsequently here and there by the lit end of a ci!arette or the tip of a atch fla eB IAnd the fi!ures that I was a/in! were spells ?? that I burned with a atch after havin! so eticulously drawn the 3I D2 &o ethin! was produced" halfway between a drawin! and an obGect" and can function as a talis an" a !ri!ri a!ainst any traps set" or" on the contrary" as an evil curse3 And all this concurred in its creationB writin!" first of all" but writin! istreated" perforated" consu ed" both the drawin! and the color" and even the support itself" the sheet of paper a!ainst which the hand of Antonin Artaud set itself with such fury3 IIncluded here is a bad drawin!"I he wrote on &epte ber @D" )*D@" to Andr Holland de Henville" Iwhere what is called the subGectile betrayed e"I D+ and a bit of the letter was torn off" doubtless to a/e the trace of this treason disappear3 =ut" at (ille?$vrard" he does not per it the subGectile to betray hi " he treats it as an adverse body" attac/in! it and placin! it utterly at his ercyB ,he figures on the inert page said nothing under my hand" ,hey offered themselves to me like millstones which would not inspire the drawing' and which * could probe' cut' scrape' file' sew' unsew' shred' slash' and stitch without the subjectile ever complaining through father or through mother3 D* That these spells have a stron! e otional char!e is undeniableB they responded to a necessity" to the i perious need of showin! ?? thou!h death is felt as possible" and even i inent ?? one<s own eFistence" that one is not co pletely dead3 It is not without interest to note that Antonin Artaud will declare hi self subsequently to have died at (ille?$vrard in Au!ust )*D*" thus shortly after the castin! of the spells ?? and there is no doubt that one of their !oals is to protect hi a!ainst disappearance" to affir his co bative willB ,he goal of all these figures drawn and colored was an e&orcism of malediction' a bodily vituperation against the obligations of spatial form' of perspective' of measure' of balance' of dimension' and' through this vindictive vituperation' a condemnation of the psychic world encrusted like a louse on the physical world that it incubuses or succubuses while claiming to have formed it3 1> These stran!e obGects" Antonin Artaud lets it be understood" these /inds of a ulet also have a curative function" counteractin! an unhealthy power that the psychic wields over the physical3 #i/e their offensive powers" their defensive powers are evident" suffused with the ener!y of their fabrication" the violence of their intentions" their devastatin! effects3 Plun!ed into the world of a!ic spells" we can scarcely escape these fla es which" fro all sides" lic/ at the tranquil and co fortable space where we would li/e to re ain3 ;e can scarcely loo/ at these obGects without bein! conta inated by their vehe ence" or then we don<t understand anythin!: we can only see an eFtraordinary theatricality risin! fro these pa!es" palpitatin! under all the tortures under!one" underlaid by a contestatory will which" even as it ar!ues with the " is based on for s" si!ns" colors" and throu!h that very fact sees to it that these spells are real visual constructionsB * mean that in ignoring drawing as well as nature * had resolved to leave behind those forms' lines' strokes' shadows' colors' and aspects which' just as in

modern painting' neither represented anything nor demanded to be united by the consistency of any visual or material law' but rather created' as if above the paper' a kind of counterfigure perpetually protesting against the law of the created object3 1) It could even be said that the paroFys of spell?castin! in May )*D* announces the blaNe of teFts written by Antonin Artaud after his departure fro HodeN" those eFplosive" percussive teFts with their rava!in! hu or" parallel to the stupefyin! landscapes of faces and bodies that co pose his last drawin!s3 Then he see s no lon!er to draw3 A few fu!itive reapparitions of si!ns in his letters toward June?July of )*1)3 &ubsequently" he is transferred to HodeN at the be!innin! of )*1D3 In the sprin!" Crdric Delan!lade" a Marseillais painter with surrealist tendencies and a war refu!ee" co es to ta/e shelter in HodeN near his friend 0aston CerdiUre3 There has been a !reat deal of eFa!!eration" both spo/en and written" about how instru ental he was in Antonin Artaud<s startin! to draw a!ain" su!!estin! that he persuaded hi to do so and furnished hi with the eans3 Antonin Artaud hi self contributed to that le!end in stressin! the intervention of Delan!lade in this do ain" but that was in a letter to the psychiatrist on who his fate depended" and the painter was an inti ate friend of this psychiatrist3 ;ithout denyin! that Delan!lade could have !iven hi pencils" charcoal" paper" we should still understand that he would not have drawn anythin! had he not felt the need for it3 ;hat we ay suppose is that seein! a painter confrontin! his wor/" and present to evaluate the results daily ?? whatever his or Antonin Artaud<s own inti ate Gud! ent i!ht have been about it ?? posed a!ain" specifically and concretely" the question of drawin! and of paintin!3 1@ ;hat is sure is that at the be!innin! of Cebruary )*11" thus about a year after Delan!lade<s arrival at HodeN" he had done a few drawin!s and shown his intention of startin! with !ouaches a!ainB * am very glad that my drawings pleased you' because * have not drawn for twenty years now' and * have never tried any imaginative drawing< scarcely fifteen days ago * didn%t believe myself capable of e&pressing my ideas by those means" And it is at the pressing instigation of F" $elanglade' who is a true and very deep friend' that * tried it" 3 * shall make you a gouache since you like this medium" *f * was silent for an instant when you spoke to me about it' it is not all that * didn%t want to satisfy you' on the contrary" *t%s that not having touched a brush for years' * wondered very simply if * could succeed in something that would captivate you too3 1D Antonin Artaud had brou!ht bac/ fro HodeN four charcoal drawin!s 5one of the has disappeared6" rather s all in di ension li/e his youthful drawin!s 5very often eFecuted in charcoal6" which ust date fro this period3 In any case" we find there so e of the sy bols also found in a letter of %ctober )D" )*1D" to Pierre #aval" 11 such as the cross and the si!n of infinity3 As for his ta/in! up !ouache a!ain" that was" accordin! to all appearances" a proGect with no sequel3 It is only at the be!innin! of )*1A that he will start really drawin! a!ain" underta/in! those !reat colorful co positions for which he uses in !eneral a very lar!e for at3 If we don<t count the nu erous letters written at HodeN fro the ti e he stayed there" addressed above all to his fa ily and to his i ediate entoura!e" the doctors ta/in!

care of hi " in January )*1A he has not so far written eFcept very briefly" to respond to precise queries" always on a loose sheet of paper" and at very specific o ents3 Kis drawin! ?? of which he hi self says that it is not without relation to his for er writin!s" and to his atte pts to renew the theater and restore to it the power it had lost ?? see s to be his first continuous activity3 And he con!ratulates hi self for bein! able to !uarantee in part his eFistence thereby" which is" for hi " to entertain so e hope that one day soon his i prison ent i!ht ceaseB * started to do large colored drawings" * sent two of them to Bean $ubuffet DA who had asked me to have them photographed' and * finished :uite a few others" ,hese are written drawings' with sentences inserted in the forms so as to precipitate them" * think that here * may have managed something special' as in my books or in the theater' and * am sure you will like them a lot" 5erhaps * shall be able to sell them' and then between the money from my drawings and the money from my books' finally succeed in living by my own means3 1, ;e should notice this very particular notion of written drawin!s which lin/s drawin! and writin!" a/in! the indissociable" lest we should i a!ine one without the other3 ;e should also notice ?? this letter providin! for al proof of it ?? that the eFecution of the first lar!e drawin!s preceded the obstinate" daily /eepin! of his noteboo/s 5the first dates fro Cebruary )*1A6" as if it had been necessary first to pass throu!h this for of drawin! writin!" of ideo!raphic writin!" for his hand to !et used once ore to this aGor function which had been its province well before his intern entB transcribin! a thou!ht upon paper or so e other support3 ;e should re e ber here the whole the atics of the teFts dealin! with the Tarahu aras" relatin! that voya!e when" !oin! up the ountain on horsebac/" Antonin Artaud saw various for s co in! forth fro all sides" as if they had been drawn in the landscapes that surrounded hi or en!raved in the roc/s" for s that finally resolved the selves into si!nsB At every turning of the path there are trees burned deliberately into cruciform shape' or in the form of beings' and often these beings are double and face each other' as if to manifest the essential duality of things< and * have seen this duality indicated by a sign in the form of an 8' enclosed in a circle' which appeared to me marked in red iron upon a great pine tree< other trees bore lances' spades' acanthus leaves surrounded with crosses< here and there' in enclosures of all sorts' there would develop great strangled corridors of rocks' or whole lines of #gyptian ankhs< and the doors of the ,arahumaras% houses would show the sign of the .ayan world! two opposed triangles' whose points are linked by a bar< and this bar is the ,ree of Life which passes through the center of Reality3 12 And surely these si!ns occupyin! the ountain" positioned there by Ia sort of !randiose athe aticsI 1+ that caused the to repeat the selves accordin! to certain nu bers and obey their usic" these si!ns co posin! on the sheer sides of the Tarahu aras< sierra a !i!antic paintin!" ani ated by a secret alche y into which Ithe pre?Henaissance Italian painters were initiated"I 1* were transfor ed by definitively denudin! the selves into letters" with all their a!ic condensed into the si plified and archaic for of a letterB

-tone by stone' finally' and at the end of the voyage' * had the impression of having noted them all! from the stroke which divides itself into a double stroke' broken in its center by a bar' with across from it this same right bar which issued from it< and * cannot help it if this form of the 8 which results is the central figure upon which 5lato recounts that the Atlantis inhabitants had built their towns3 A> And the K is not the only letter that e er!es spontaneously in nature for the Tarahu aras" the unique letter offered to the eyes of the one see/in!" upon the slopes of ountains or the fronts of dwellin!s" the drawn'written traces of an ancient and vital secret3 Durin! the ritual cere onies" it<s an entire alphabet" or!anically produced by the bodies of the participants" eFcreted by their viscera" that appears in space" an alphabet throu!h which a lost science will be able to rediscover itself" decode itself once oreB 4hat came forth from my kidney or my spleen had the form of the letters of a very ancient and mysterious alphabet masticated by an enormous mouth' but frighteningly repressed' prideful" unreadable" jealous of its own invisibility< and these signs had been swept in all senses into space while it appeared to me that * was climbing upon them' but not all alone" Aided by a strange force" 1ut much freer than when * was alone upon the earth" 3 At one moment something like a wind arose and the spaces withdrew" 6n the side where my spleen used to be' an immense emptiness dug in' painting itself in gray and rose like the shore of the sea" And in the depths of this emptiness there appeared the form of a fallen root' a sort of B which would have had at its summit three branches with an # on top' sad and shining like an eye" )) Flames were leaping out of the left ear of the B and passing behind it' seeming to push everything to the right' on the side where my spleen was' but far beyond3 A) 4ow" for Antonin Artaud" these letters dispersed in the air are so any si!ns whose ultiple co binations reconstitute a sort of for!otten visual representation li/e a paintin!" a a!ic paintin! that ana!es to represent even the ind3 These letters that are born and fade away al ost i ediately in the at osphere create" by their for s and the utations of these for s ori!inatin! in the body" a fluctuatin! picture that ust Icorrespond obGectively to a transcendental painted representation of the final and hi!hest realities3I A@ &howin! what cannot be shown" representin! the unrepresentable" eFpressin! the ineFpressibleB this is what Antonin Artaud saw the sorcerers of Peyotl acco plish durin! their ritual" and what he will attach hi self to at HodeN when he starts drawin! a!ain" then writin! daily3 And if the drawin!s are for hi " as subsequently all the lines of the noteboo/s will be" the anifestation of a war underta/en a!ainst the evil forces dispersed in the world in order to prevent any lucid consciousness fro spea/in! out" they are also a eans for findin! a profound reality once a!ainB #ach line that * trace upon a drawing or that * write in a te&t represents in my consciousness an unlimited depth in life because of the resistance of everyone%s consciousness' e&cept for some very rare friends like you" 4e are not " " " on the real map of the world' and * have on this point an idea that other men do not' and * have found very few friends who' like you' have understood it" * would just have to have better food and more strength in order' by drawings or poems' to

make a whole stretch of mad conscience collapse' and to permit other souls to reach at last what they have always been seeking! true life and the level on the true earth where what appears is only a mas:uerade3 AD Cor Antonin Artaud" drawin!s and poe s have an identical function" not so different fro the /ind of cure he would li/e to see the theater brin! about" letters and si!ns concurrin! toward the sa e end" and so it is co pletely natural that drawin! and writin! should be lin/ed to constitute what he hi self calls" in the be!innin! of )*1A" Iwritten drawin!s3I A on! the drawin!s that have co e down to us" L%Ntre et ses foetus 5=ein! and Its Cetuses6 and Bamais rel et toujours vrai 54ever Heal and Always True6 answer this definition" and ust date fro this period3 In L%Ntre et ses foetus' space is split in two by a median body' which is probably being' with its head at the bottom' its armless torso on the interior of its trunk' and its shoulders resting on two unlikely looking feet' with its obviously female fetus placed in the opposite direction' so that its feet are parallel to those other odd)looking feet" ,wo other persons' slightly smaller than the internal foetus' and which are perhaps fetuses already outside of being' seem to float around on either side of its feet that are pointing upward" ,he remainder of the paper is spattered with diverse forms! bones' suns' wheels' larvae' ectoplasm' and a sort of mass armed with a spear in the upper part to the right" At the top and at the bottom' hori+ontally' to the left and to the right' vertically' inscriptions frame the whole picture" ,wo other vertical inscriptions can be read' one on the left' along the length of the mass' the other' as if aborted' with some letters purposely omitted' to the left of the central being" *n addition' elements of glossolalia mingle in everywhere with the forms" *n the second of these drawings' between two hori+ontal inscriptions! (never real and always true( at the top' and (not from art but from 3 the failure of -udan and of $ahomey( at the bottom' forms again fill up all the space" #&cept for some geometric elements at the bottom left' and' more in the center' a sort of little body without either arms or legs' surrounded by bubbles and reminiscent of those wooden Russian dolls that fit into each other' the forms are purposely larval' undecided! ,he drawings * want to speak of are full of larval forms' in the very stubbing of the pencil stroke against the paper' and * wanted them to agree between themselves so that with the colors' the shadows' and all their reinforcements' the whole would be valid and singular" AD The lar!est of these for s is on the left and ta/es up the whole hei!ht of the space3 It<s an enor ous trun/ bristlin! with pseudopods li/e so any ollus/s" topped with a /ind of hat and finished off by a dotted appendiF that see s at once soft and swollen3 Cro its ri!ht side there e er!e two onstrous le!s" soft" ede atous" and lower down" but in the center" a sort of droopin! phallus3 At the top of the sheet" to the ri!ht of this enor ous for " four shields fro which there protrude sta/es or blades" the one on the far ri!ht see in! rather anthropo orphic3 =eneath the there can also be seen" in the center" a person reduced to a head" a trun/" and a le!" with one vertebral colu n that appears to be escapin! fro hi 3

If I have dwelt at such len!th on the detail of these two drawin!s" it is because they see to e characteristic of Antonin Artaud<s procedure at that ti e3 Ke has to ta/e possession of the whole space" peoplin! it with si!ns and words" !arnishin! it in all possible directions with diverse weapons" without per ittin! the sli!htest breach to appear in which alevolent forces could !o to wor/3 4ot one square centi eter is unoccupied3 Just so" in Cebruary )*1A" not one square centi eter of the noteboo/s will re ain vir!in" the writin! and the hand will stubbornly blac/en every part of the white pa!e3 The drawin!s" li/e the noteboo/s" are veritable war achines" and we notice" in those eFecuted at HodeN" the frequency of cannons ounted on wheels" those cannons that spit forth fire or point toward the s/y" li/e so any erect penises3 Two other drawin!s would also correspond to this notion of Iwritten drawin!sIB these are L%*mmacule conception 5The I aculate Conception6 and $essin 0 regarder de traviole 5Drawin! to =e #oo/ed at &ideways6" which appears" however" to be of a later date3 %f the first" in fact" it is only /nown that it was done before January )*1," for it fi!ures in a list drawn up by Antonin Artaud in that onth: for the second" its co entary is located in a noteboo/ fro the end of January )*1," so it is certain that it had Gust been finished3 =ut we /now fro a letter that Antonin Artaud addresses to Dr3 CerdiUre on Cebruary @+" )*1," that on this date he could still conflate writin! and drawin!B IThe sentences that I noted on the drawin! that I !ave you" I sou!ht the syllable by syllable" aloud and wor/in! hard" to see if any verbal sonorities had been located that would be capable of helpin! anyone loo/in! at y drawin! to understand it3I AA If the written parts of the drawin! itself are there in order to help with a better understandin! of it" what is the role of those teFts that occasionally co ent on the L Is it because his drawin!s were not always received as he would have li/ed that Antonin Artaud very often felt the need to illu inate the by further co entaryL %r i!ht it not be in order to prolon! their resonance by acco panyin! the with a teFt which" read or" better" declai ed" would double the effects" while actin! differently" affectin! other points of our sensitivityL $ither reason could easily otivate such a procedure3 7nfortunately" the docu ents that have co e down to us do not always per it us to associate the drawin!s and the co entaryB certain co entaries have outlasted the drawin!s to which they could apply" not to this day found or identified: in other cases" we have the drawin! or the trace that it eFisted" but not the co entary3 The latter were not perhaps always written in a syste atic fashion to apply to each drawin!3 Those re ainin! have abundant infor ation for us on the way in which Antonin Artaud then envisa!ed his drawin!s and his own relation to the inert atter that presented itself to hi B the paper on which he was !oin! to proGect words" obGects" and phanto s of bein!s3 The quality of the support atters little to hi B ICine paper encoura!es you to a/e asterpieces" coarse and repulsive paper encoura!es you to a/e useful and needed wor/s that will no lon!er be able to pass as beautiful3I A, That the quality of the paper is ediocre does not bother hi in the sli!htest3 %n the contrary" it obli!es hi to a harsher necessity" to a ore acute vi!ilance" the paper bein! an adversary to conquer and that he has to traverse ?? !oin! far beyond it ?? so as to inspire the for s that the hand has precipitated upon it to !o on and live" an adversary to be soiled" cru pled" scraped to the very li it of perforation" spoiled and set to shrie/in!3 This virulent stru!!le of the idea to co e to dayli!ht" whatever

bruises and wounds it ta/es" that<s what these drawin!s should show us" eFactly what Antonin Artaud wants to have art accept" eFceedin! the li its of art" as he wants it to ad it the apparent clu siness of the drawn lineB ,his drawing is a grave attempt to give life and e&istence to what until today had never been accepted in art' the botching of the subjectile' the piteous awkwardness of forms crumbling around an idea after having for so many eternities labored to join it" ,he page is soiled and spoiled' the paper crumpled' the people drawn with the consciousness of a child" 3 * wanted all this anguish and e&haustion of the consciousness of the seeker in the center and around his idea to take on some meaning for once' for them to be accepted and made part of the work accomplished' for in this work there is an idea3 A2 That a sheet has already been used does not bother hi in the least" he turns it over and draws on the other side 5this is the case for $essin a regarder de traviole and for Le ,emps des l7ches passera sous la guerre du canon 8The Ti e of the Cowards ;ill Pass under the ;ar of the Cannon96" carin! very little that traces of the other side ay appear: of the fact that any for s have been drawn on the sheet itself" then wiped out without havin! been entirely effaced" and that there re ains for it so e sort of specter of a wor/ destroyed" spottin! the paper 5so it is with the drawin! whose center is a body hun! on a !allows6" he ta/es no notice: perhaps indeed he will incorporate these phanto s in his wor/ li/e so any ar/s of his pro!ress and" in his war a!ainst the support" he will induce so e violence to sur!e forth fro these wounds he has inflicted upon it" the violence doublin! that of the drawin!3 Ke ta/es his pencil or his stic/ 5he uses pencil lead" colored pencils" the soft Crayola?type chal/s6 as he would a true weapon" in order to constrain the subGectile" ra in! the point a!ainst the surface so hard it brea/s or crushes3 As for the for s that haunt these drawin!sB wheels" suns" cannons with often a hi!hly phallic loo/" !uns" sic/les" toothed co bs" bloc/s of wood" !allows" envelopes" coffins" telescopes" hel ets" unfor ed cells" utilated bodies" deprived of an ar or of both" so eti es havin! only a sin!le onstrous le!" but perhaps possessin! quadruple nipples and trun/less le!s" heads without a body" traces of feet and a ultitude of bones" all this in!lin!" as the title of one drawin! describes it" in a Ibouillabaisse of for s"I Antonin Artaud deliberately refuses to present the s/illfullyB ,his drawing' like all my others' is not that of a man who doesn%t know how to draw' but of a man who has abandoned the principle of drawing and who wants to draw at his age' my age' as if he had never learned anything by principle' law' or art' but only by the e&perience of work' and * should say not instantaneous but instant' * mean immediately deserved" $eserved in relation to all the forces that in time and space are opposed to the manual work of creation' and not only manual but nervous and physical" 3 ,hat is' against the taking mental possession of the soul' and its restoration in the being of reality3 A+ %f these drawin!s" the selves clu sily eFecuted" Iso that the eye loo/in! at the will fall"I A* which intend to have us perceive no one /nows what unfatho able reality" which don<t try to please us but rather to alert us" Antonin Artaud will say that they are Idocu ents"I ,> or a!ain" IsensationsIB IThis drawin! is a sensation that has passed into e" as they say in certain le!ends that death passes3 ' And that I have wanted to !rasp in fli!ht and draw absolutely naked3I ,)

And it is true that they are anythin! but a IlovelyI /ind of drawin!" to which" oreover" the hand of Antonin Artaud could have laid clai " as he proved in his youthB II wor/ed for ten years on drawin! in the course of y whole eFistence ' but I did not ever despair of pure drawin!3I ,@ 4o" these drawin!s are not banal wor/s of art" they bear witness to a !aspin! life and its an!uish" they are the wor/ of a an for who the traversin! of an alienatin! eFperience has for!ed an inco parable lucidity3 ;hat Antonin Artaud acco plished with the first drawin!s done at HodeN is indissociable fro the writin! of the noteboo/s3 Cro )*1D" with (Le Rite du 5eyotl che+ les ,arahumaras( 5The Hitual of Peyotl in the Tarahu aras6 ,D and (J%Arve et l%aume( 5The #arva and the $ll6" ,1 he had sufficiently de onstrated that his lin!uistic virtuosity was not only intact but had !ained in force and in pertinence3 =ut it is not the search for for that is his first concern when he writes" in the noisy solitude of an asylu of ad en" these thousands of pa!es day after day3 ;hat counts is to affir by writin!" as he does by drawin!" a certain identity found a!ain" to accu ulate the aterials" even inor!anic ones" even larval" indispensable to the success of the wor/ underta/en" to re a/e" to reconstitute his dislocated fra ewor/B ITo say and write no atter what in order not to lose the idea so as to re e ber afterward" brin!in! forth the true fra ewor/" that s/eleton of incarnation3I ,A =ut so eti es" as if in spite of itself" Istyle opened up" it was Gust !oin! alon! its way"I ,, and that yielded so e stupefyin! verbal eFplosions3 That is also ore or less what happens with drawin!B at o ents" the hand finds itself bein! s/illful a!ain" it /nows how to accentuate the stro/e" to distribute the dots" arblin!s" and spec/les" to render eFactly the blac/ of the oir pencil silvery" al ost phosphorescent: the subGect is oreover ore li ited" less diffuse" ore centered on the sheet whose space is suddenly authoriNed to breathe" is ore dra atically co posed" as if sta!ed3 I a thin/in! here of L%#&cration du 5Fre).Fre 5The $Fecration of the Cather? Mother6" of this penis between two open le!s and which with its end is Gabbin! into a death s/ull" placed there to si!nify the seF of the wo an" thin/in! of this tu ultuous birthin! catapultin! under our eyes: I a also thin/in! of that head with the pupils shinin! li/e those of Medusa" with the outh spea/in!" of which Antonin Artaud said that it had appeared to hi in a drea : I a thin/in! of that drawin! that he called" lau!hin!" Ithe shit sweeperI where the ost visible ele ent is precisely that round broo with the tote ic handle coiffed with a /ind of colonial hel et" with an arched bit" and as if it were translucent" ,2 which ta/es up the front of the sta!e" whereas at the bac/" at the left and very uch withdrawn" hieratic" there rei!ns a bein! with a body al ost wiped out" of which only a face can be seen" !ri as death" the forehead slashed by the ed!e of the paper itself" the hollow eyes starin! at us" one heavy and swollen breast at the level of the liver" and one foot with the toes spread wide apart3 (ery few portraits ,+ a on! the drawin!s of HodeNB on a detached noteboo/ sheet" the lovely youn! wo an" with a pure oval face" the pupils dilated in the eFtre e" perhaps &onia Moss ,* evo/ed fro e ory when Antonin Artaud learned of her disappearance in a !as cha ber: a barbaric and bri!htly colored drawin! 5al ost entirely eFecuted with soft chal/s6 where he is sy bolically represented as the /in! of the Incas" the body ar less" al ost without a torso" unless torso and ar s are hidden under two round hu oc/s at chest hei!ht" all of that restin! on two lar!e paws at the feet of a win!ed ani al: 2> finally" a self?portrait loo/in! not very uch li/e hi " done on the eve of leavin! HodeN 5it is dated fro May ))" )*1,6" throu!h which

shows the face of one of his two !rand others 5sisters in reality" who he had ade his first?born dau!htersB 4ene/a Chil and Catherine Chil63 &carred and !utted with wounds" dotted with points of pain" her face appears above a few other faces of unequal siNes in the lower part of the drawin!3 2) 4ow" as soon as he returns to Paris" he will abandon al ost entirely drawin!s with any the e or portrait?li/e i a!es3 5I a of course spea/in! here of the drawin!s that Antonin Artaud conceives as autono ous wor/s" for which" li/e any other drafts an" he uses a specially chosen paper" but there are also" ever since )*1A" the drawin!s of the noteboo/s to which I will return36 There are two eFceptionsB ." ;ictor" done at the request of the youn! actors who were puttin! on ;ictor ou Les #nfants au pouvoir 5(ictor" or The Children in Power6 of Ho!er (itrac" which was to have been reproduced in the pro!ra : 2@ and a /ind of pri itive !ri?!ri" a as/ or a tote " or a hand losin! its bones and spreadin! out li/e a sulfurous flower" datin! fro April @2" )*12" done at the request of Prevel to illustrate one of his poe s3 2D The very first portraits are rather often s allish and see to have been done to please the friends that Antonin Artaud had found a!ain" or those who had found hi a!ain3 Perhaps also he thin/s he can earn his livin! by sellin! his drawin!s" as he had intended to" accordin! to his letters" and even ore easily if he beco es a portrait painter3 21 ;antin! to prove hi self in this do ain" he then a/es an atte pt to render the picture ore lifeli/e3 &o it is with the portrait of Holande Prevel" where the usicality of line re inds us of certain drawin!s of Matisse" or those of Jacques Prevel" Pierre #oeb" or &i a Ceder" for eFa ple3 =ut very soon" the face will stop bein! an obGect to reproduce" in order to beco e ?? upon the sheet where Antonin Artaud for s hatchin!s" stripes" wrin/les" scrunchin! his pencil down until it brea/s off ?the very theater of a war fro which he will e er!e devastated" pantin!" and shrie/in! with a truth never until then attainedB IIn the portraits that I drew" I tried above all not to for!et the nose" the outh" the ears" or the hair" but I tried to a/e the face that was spea/in! to e ' tell the secret ' of an old hu an history which passed by as if dead in the ind of In!res or of Kolbein3I 2A I re e ber Antonin Artaud very well as he was doin! y portrait in 4ove ber? Dece ber )*1,3 Ke had installed his sheet of paper on the dinin! table in front of which he stood" with any pencils in reserve" as always" in the poc/et of his Gac/et3 Ke had seated e across fro hi " but didn<t force e into i obility3 At o ents" he was co pletely absorbed by his wor/" sweepin! his pencil over the paper or" suddenly stoppin! his ove ent" Gabbin! it hard into the paper" or then a!ain squeeNin! his thu b a!ainst the pa!e to !ive ore nuance to the intensity of the blac/ened parts shadowin! the forehead" the chee/s" or the chin3 Ke would lift his head fro ti e to ti e" loo/in! at e with his vivid blue eyes whose eyelids he wrin/led to better discern the detail he was tryin! to isolate and wanted to brin! to the fore3 =ut he could also hu or Go/e" without however relaFin! his attention3 I saw hi return with insistence to one definite spot of y face" tin/er with it" passin! his pencil a!ain and a!ain over the sa e spot" a/in! it !lea li/e ica" wipin! it out" startin! over a!ain3 It went on for several days3 The result was surprisin!" a!nificent" but terrifyin!3 Antonin Artaud loo/ed at e" loo/ed a!ain at his drawin!" then a!ain at e at last" declarin!B II have !iven you the face of an old e pire of barbarian ti es3I And it was true3 I a sorry not to be able to see that portrait a!ain today: 2, I have the

i pression that Antonin Artaud had shown an eFtraordinary prescience in it" and that his drawin! revealed in advance the face that life was !oin! to !ive e3 The face" for hi " is the co pendiu of innu erable si!ns that have ar/ed it durin! a life past and present" but also to co e" as if the traces left on it by the an!uish lived throu!h could so ehow si!nal ahead of ti e what life would i print in each of its wrin/les3 The face" which is everythin! we have left of a true body" is unli/ely to betray us" quite the contrary fro the bodyB IThe hu an face is conditionally" ' I say conditionally" ' everythin! that re ains of the revenge" ' of the revolutionary reven!e of a body that is not and never was in confor ity with that face3I 22 Just as" with the Tarahu aras" the liver and the /idney and the spleen of the participant" durin! the ritual" produce an alphabet that decodes the unrevealed ysteries" so the face produces si!ns" inscribed in its very s/in" that offer to the drafts an" if he /nows how to co port hi self as a poet" that is to say" as a seer" the possibility of readin! a destiny therein3 And that is what Antonin Artaud does when he draws a face ?? he strips it bare" a/in! the ost secret thin!s it contains stand out" unveilin! for hi what it will beB IMy portraits are those that I have wanted to represent" ' they the selves wanted to be" ' it<s their destiny that I have wanted to represent without worryin! about anythin! other than a certain barbarity" yes" a certain unschooled CH7$#TM" but who could find it in the iddle of the speciesLI 2+ 4ot the sli!htest esoteris in that" no trace of alle!ory either in any of these portraits3 Antonin Artaud represents what he sees" but what he sees is well beyond what all the others can perceive" and he /nows it also perfectly well" he says it hi self" what he wants to represent and how and why he does it in this way3 %ne of the first portraits done in Paris is that of Jean Dubuffet" 2* on the afternoon of Au!ust @2" )*1,3 And it is not without i portance that it should be the portrait of a painter3 #eavin! the studio of the rue de (au!irard where he lin!ered" en!rossed in his wor/" Antonin Artaud runs afterward to the rendeN?vous that he had set with Prevel" and to eFplain his lateness" recounts what he has Gust done" sayin! he had loo/ed for whatever see ed to be troublin! in the face of his odel3 +> Durin! the course of the visit Jean Dubuffet" who" in the days before" had done fro e ory two +) portraits of Antonin Artaud" shows the to hi 3 These portraits suprise hi " ostly because a cross has been drawn in the place of his nose" whereas he hi self wants to have nothin! in co on with the Christian reli!ion3 And in fact" in the drawin!s of Jean Dubuffet" a sort of cunnin!ly naive four?petaled flower ?? the petals opposed two by two" and whose for i!ht indeed evo/e a cross ?? is stuc/ in Gust the place where a nose should be found3 The very fact that Antonin Artaud" so sensitiNed to everythin! that had to do with reli!ion that the least hint on this subGect could provo/e in hi an eFtre e fury" appeared to be both a used and intri!ued by the drawin!s that were presented to hi " shows that in so e way he had appreciated the anti?pictorial procedure of the painter3 4early a year afterward" the i pression still re ains because he notesB IIs M3 Jean Dubuffet acade ic when he paints and when he protests ' the nose under the eye soc/ets ' a!ainst the ocular acade is of the present architecture of the face said to be pictorialLI +@ That he should refer to the drawin!s of Jean Dubuffet in order to define antiacade is is not insi!nificant" since he defends hi self a!ainst bein! thou!ht

acade ic in decidin! to show the face eFactly as it is constructedB forehead" eye soc/ets" nasal appendiF" lips" and hair3 And to show that his way of proceedin! is far fro acade ic" he chooses precisely as an eFa ple his own portrait of Jean DubuffetB *s Bean $ubuffet academic because he has two eyes' lips' a mouth' a verbal emission that serves him to contradict the principle itself of e&pressionI 3 Go' and yet his skull is there' like mine' both of which one day will be lit with the lights of * don%t know what tomb that will eFist" * say it right now' that of an ossuary of the disinterred" For our bodies' we the living' according to all the persons represented in the latest e&hibitions of paintings' will not have to be buried in order to have at last the mortuary honors of a poem like one of Fran2ois ;illon%s3 +D 7ntil about April )*12" Antonin Artaud uses only a lead pencil" and usually contents hi self with placin! a sin!le face rather hi!h on the sheet of paper" so eti es without a nec/" so eti es with the nec/ as if severed fro the torso" ri!ht where it should be attached to the shoulders" a face that he chisels with ra!e" that he ravines" rava!es" or on the contrary" in certain cases" feathers in with a li!ht hand in order to better preserve a sort of funda ental in!enuousness: I a thin/in!" a on! others" of the portrait of Do nine Thvenin" siF years old" the only portrait of a child he ever did" or of that of Colette Tho as" dated May @)" )*12" loo/in! li/e %phelia with eyes of a blac/ la/e" continually astonished by eFistence3 The sa e face can also be perceived" accordin! to the o ent of the portrait" or the relation of Antonin Artaud to his sitter that day" in an absolutely different way3 To see side by side" for eFa ple" the portrait of Mania %Vfer dated January )@" )*12" and the one of her in May of the sa e year is a sin!ular proof of that3 It<s the sa e youn! wo an who posed" of course" but where the first" with her diaphanous s ooth s/in" the studied looseness of her hair" her far?off sad loo/" is already no ore than a e ory of herself" the second per its us to !li pse the depths of an i ense life3 Antonin Artaud has !one" as it were" far beyond appearance: he shows what there is of per anent" al ost unfatho able distress in these eyes that he circles with very deep wrin/les: he ha ers and chips away at the face" rubs down its planes" a/es quite sparse the hair surroundin! the face li/e a ournin! veil" this face he sculpts" we i!ht say" for a sort of eternity" li/e that of a barbarous and dolorous divinity3 +1 It<s that he never did intend to a/e so ethin! a!reeable to loo/ atB Ipoor" dry" and servile should be the drawin!3I +A Ke has ta/en !reat care to warn us about this: none of these portraits whose !aNes !o ri!ht throu!h us are Iwor/s of the aesthetic si ulation of reality3I +, 4o" each of the has been" at the o ent when he proGected it upon the paper" constructed it" odeled it" istreated and ani ated it" the very center of a dra a where the hand of Antonin Artaud which drew it precipitated it" a hand always conscious that Icruelty is above all lucid" it<s a sort of ri!id direction" the sub ission to necessity3 4o cruelty without consciousness" without a sort of deliberate consciousness3 It<s consciousness that !ives to the eFercise of any act of life its color of blood" its cruel nuance" because it is clear that life is always the death of so eone3I +2 It<s the conscientious hand of Antonin Artaud that !ives this force that bores ri!ht throu!h you to these faces" this power of piercin! the heaviest dar/ness" it is its cruel lucidity that !ives the life" a life they have not suspected until then" which !ives it to

the at the price of the death it obli!es the to live when they conte plate the selves" it<s he who leads the " with their eyes wide open" to eet their destiny3 And it is in that way that he reaches the sense of theaterB I4ow the theater is li/e a !reat wa/e" in which it is I who a !uidin! fatality3I ++ The portrait of Jacques Prevel" dated April @," )*12" see s to be the first where" in order to better eFpress this fatality" the head" with its bu py" defor ed forehead and its eyes of unequal siNe" the left one s aller than the ri!ht" and i planted uch lower" is no lon!er isolated upon the sheet" but" on the contrary" bordered and as it were invaded by a teFt which see s placed there in order to a/e his tra!edy ore vivid still3 &tartin! at this o ent" Gust when he /nows surely that his portraits are !oin! to be eFhibited and will have to act upon a public" Antonin Artaud pic/s the up a!ain" rewor/s the " surrounds the with si!ns" obGects" sentences" uses chal/s and colored pencils a!ain" in!lin! the or contrastin! the with the anthracite of the lead pencilB II co it you"I he writes e on June )+" )*12" Ito co in! bac/ here to see what I have done with your portrait3 I have surrounded it with si!ns" with obGects3 ' I have done the one of your sister too as in the wheat fields of a van 0o!h3I And it is true that the portrait of y sister !lows and spins li/e certain canvases of (incent van 0o!h" that painter who is Ionly a painter"I +* who was" li/e Antonin Artaud" declared ad and enclosed in an asylu 3 In the precedin! onths" we ust not for!et it" he wrote" in a burst of solidarity" driven and otivated by the si ilarity of their two destinies" one of the ost upsettin! boo/s any writer was ever to write about a painter3 The blaNin! of colors in the canvases of (incent van 0o!h" the loo/ of his self?portraits that drills throu!h you" the dra atic intensity of his last co positions" he ana!ed to have all this seen with nothin! but words" than/s to the evocative power he was able to breathe into the " throu!h the !atherin! of sonorities and the internal scansion of their structure3 To succeed in that too/ the eye of a painter" but a painter who had to be at the sa e ti e a fabulous poet" for who the theater had always been the I a!ic of livin!"I *> for who " Iif theater doubles life" life doubles the true theater3I *) They are livin!" all these hu an heads that Antonin Artaud draws in )*12" they have the power to haunt anyone who has once seen the : their decapitated faces interro!ate you with all the force of their absent bodies" absent perhaps because they are Gud!ed by hi to be adly constructed" but which all the sa e carry those faces and bear the on3 If he so eti es insists so stron!ly upon a particular aspect of their face" if he plun!es his pencil so hard into that point" i printin! a round and very blac/ ar/" it is that Ito /now the localiNations of the body is 3 3 3 to re a/e the a!ic chain3I *@ If he so eti es forces IobGects" trees" or ani alsI to protrude fro their sides" it is" he says" because he is not yet Isure of the li its at which the body of the hu an self can stop3I *D The hu an body" for hi " is above all the body of the actor" Ithat for idable ani ated fetish which is the whole body ' of a whole actor3I *1 4ow the only ti e that he is as/ed how one of his portraits should be entitled" the one of Kenri Pichette" he answers that this drawin! is a !ri?!ri3 *A &pea/in! of the portrait of Jany de Huy" he declares that he has ade of it an ar ed head3 *, It is truer still of the portrait of Kenri Pichette3 %ne part of the hair for s a sort of band encirclin! the head" lettin! so e ban!s escape: the forehead" the chee/s" the nose" the chin are arbled" ha ered" clawed: the violence of the shadows a/es the clarity of the

loo/ co e out all the bri!hter: the nec/ supportin! the head is narrow as a /nife blade" and shows nu erous wounds: a spherical abscess" swollen to burstin!" with nail heads stic/in! out" stretches the s/in at the hei!ht of the Ada <s appleB Ithe shrie/in! ballI ready to eFplode: the left side of the nec/ is also bristlin! with these sa e nails of which we see only the points and which see to have been stuc/ in fro the inside3 It<s the portrait of a warrior after the battle3 In each of the lines that Antonin Artaud writes" in each of the !estures that he a/es" the reference to the theater is constant" if only i plicit3 The operation that he underta/es when he hurls one of these faces without e bers into life is a theatrical act" whence the undeniable dra atic power of his portraits3 And it is no ere chance if" when Pierre #oeb wishes the close of the eFhibition IPortraits et dessinsI to be ar/ed by a readin! of teFts" *2 Antonin Artaud writes" in order to read it as a prolo!ue" (Le ,h7tre et la science'( where he affir s that the theater is Ithis crucible of fire and of true eat where anato ically" ' throu!h the sta pin! down of bones" of e bers" and of syllables" ' the bodies are re ade" ' and the ythical act ' of a/in! a body is presented ' physically and na/ed3I *+ Isn<t it in an identical crucible that he has /neaded and asticated the faces that offered the selves to hi to a/e the into truer facesL ;hen it is a atter of Antonin Artaud" how should we separate into !enres" set li its to cate!oriesL Theater" poetry writin!" drawin! are so ineFtricably in!led" still ore in the last two years of his life" that it is scarcely possible to spea/ of writin! without evo/in! drawin! or of the latter without theater or poetry co in! forthB IPoetry is ultiplicity churned up and sendin! forth fla es3I ** They are so devourin!" these fla es" that words fail to spea/ of his very last drawin!s" these forests of inter in!led faces so eti es haunted by his own" these accu ulated heads erected as tote s" these landscapes constellated with eyes" syllables" or words" that he peoples with dead wo en )>> of who he a/es livin! ones" and livin! ones who ust pass throu!h death in order to live3 Kow to evo/e the violence or the spar/lin! of the blac/s and the !rays he obtains with his pencil alone and the bac/ of his thu bL And what to say of this eFtraordinary self?portrait" curiously dated Dece ber )*1+" as if he had si!ned it already dead" )>) where he has represented hi self with an e aciated face whose parch ent s/in lets the bone structure show throu!hL Ke said to e" in si!nin! and datin! itB IThis is yself on the road fro the Indies five thousand years a!o3I About the head on his ri!ht shoulderB IIt<s the head that wei!hs on e3I As for the obGect below" and lower than his nec/" in the center of the thoracic cavity" he eFplained to e that it<s a coffee achine" the coffee achine" probably" that with its stea should enable the body to function3 %f the livin! an" of the an of flesh that he was" there re ains only the stron! ri!ht hand with two fin!ers raised3 It is holdin! so ethin! fro which one ear is stic/in! out" an ear or perhaps a handle" for he had spo/en to e about a hidden teapot3 The last drawin! he finished" around the be!innin! of )*1+" is also the only one fro this period for which he used colored chal/" and one of the very rare ones where the sheet is used horiNontally3 )>@ I loo/ed at it closely hundreds and hundreds of ti es without perceivin! that it was si!ned at the botto on the ri!ht and dated 4ove ber )+" )*1," and that is because the date and above all the si!nature are lar!ely covered over and as if hidden by the colored drawin! itself" thus anterior to it3 This ust have

been ori!inally a drawin! with pencil lead" first left aside for I don<t /now what reasons" then pic/ed up and wor/ed on for several onths3 )>D This prolon!ed cohabitation of Antonin Artaud with his drawin! has without a doubt uch to do with the feelin! of satisfaction that it arouses3 ;e feel the lon! labor acco plished by hi day after day" as it bears the still vivid traces of the passa!e of his hand and of the contact of his fin!ers with the paper3 It would not see possible to !o further" to reach deeper with a si ple pencil and so e soft chal/s3 The sort of rollin! achine that is found at the top" in the center" is doubtless the only ele ent" done in a rather hard pencil 5the sa e used for the si!nature and the date6" that re ains fro the initial drawin!3 &o e !lossolalia had been scrawled in the sa e pencil at the top and the botto of the drawin!3 They have been covered over by a second inscription in blac/ chal/" with the eFception of the line traced alon! the upper ed!e3 %utside of that" not a !reat deal can be discerned fro the ori!inal drawin!3 It disappears under the wide heavy stro/es of the colored chal/s whose predo inant colors are the ochres and the blue3 Antonin Artaud told e that he wanted to represent the proGection of the true body3 Ke hi self stands on the left" with his entire body" his hands in anacles" chains on his feet: his /nees with the protrudin! /neecaps see tied up by a /ind of bracelet spittin! out fla es or /nife blades3 Kis severed hands are tied by a cord that" havin! traversed the space of the drawin!" !oes around a barbaric bein! behind hi " on the ri!ht" probably his double" wearin! the as/ of an African sorcerer crowned with feathers or fla es" his feet rese blin! those of the /in! of the Incas" whose fantastic oblique body proGects itself all over as if he were eGaculatin! spurts of fla e3 The cord" havin! wrapped itself around hi " !rows thic/er and Goins a /ind of rin! that see s to encircle his thi!hs3 Cro his left shoulder co es another cord that ends in a closed curl" and heads li/e a lasso toward the thi!hs of the tied?up body3 =etween the an ar y of soldiers arches" a on! who several are ai in! their weapons at the i obile body of Antonin Artaud whose face" odeled in blac/ pencil and surrounded with blue chal/" is li!htly silvered3 IThe theater"I he will write on Cebruary @1" )*1+" Iis in reality the genesis of creation3I )>1 Isn<t this eFactly what this drawin! is" and should one not consider it as the supre e settin! for the Theater of CrueltyL Antonin Artaud considered as finished" so that he could add nothin! to the " two a!netic hu an panora as with their profusion of faces bein! born ni!ht after ni!ht or day after day on the paper" fro which there sur!es forth a subterranean a!ic" and where the eye" attracted in all the directions of space" is lost3 =ut his last drawin! he could not finish3 The central for evo/es a tote fro Ireland" ade of heads piled one on top of the other" the upper head bein! by far the lar!est" with its features ore sculpted than drawn and a severe eFpression3 Antonin Artaud do inates the left side" standin! upon a body without ar s" a body li/e a trun/ of wood3 Ke see s to have a wo an<s breasts3 =etween hi self and the tote " at the hei!ht of his hips" appears an ar y of little bein!s3 To the ri!ht of the body" at the eFtre e left of the drawin!" are s/etched y portrait and that of y sister3 %n the ri!ht" a person of who only the head is clearly indicated" a head with a onstrous ri!ht ear and a outh full of enor ous teeth3 At the hei!ht of his abdo en a sort of little !no e3 All the rest of the drawin! is only Gust started3 It see s obvious nevertheless that Antonin Artaud pic/ed up in it and prolon!ed the sa e the e of the last colored drawin!B the proGection of the real body3

The drawin!s of Antonin Artaud have so ethin! unique about the " and it would be absurd to try to a/e the enter in so e fashion or other into the history of art: )>A Gust as foolish as it would be to co pare the to other poets< drawin!s" fro ;illia =la/e to Kenri MichauF3 %nly" perhaps" by the whirlin! and the sharpness of the lines" the persistent presence of the hand" do the drawin!s of 0iaco etti eFercise so eti es this sa e fascination" but they do not possess to the sa e de!ree this iFture of cruelty and tenderness" this vi!orous passion3 ;e do not eet in the these reliefs of faces whose s/in is of an unequaled transparency or on the contrary dar/ened by a thousand years of life" reliefs due to the very particular wor/ of the thu b" nor those astonishin! !lances of those eyes open upon we cannot /now what ni!hts3 This unique quality in his wor/ is Gust such a total confusion between the drawin! and the writin!" Gust such an i possibility of separatin! the 3 7pon this Antonin Artaud always insistedB And since a certain day in 6ctober =?@? =LK * have never again written without drawing" 3 Gow what * am drawing 3 these are no longer themes of Art transposed from the imagination onto the paper' these are not affecting figures' 3 these are gestures' a word' a grammar' an arithmetic' a whole Oabbala and which shits at the other' which shits on the other' 3 no drawing made on paper is a drawing' the reintegration of a sensitivity misled' it is a machine that breathes' 3 this was first a machine that also breathes" 3 *t%s the search for a lost world 3 and one that no human language integrates 3 and whose image on the paper is no longer that world but a decal' a sort of diminished 3 copy" 3 For the true work is in the clouds3 )>2 &o" these drawin!s" and still ore perhaps those of the noteboo/s" have the sa e characteristics of structure" the sa e s/eleton as the writin! because they are said to have their own !ra ar3 These are never inert for s" laid out on paper" but echanics of thunder produced by breathin!" in which theater always eFists in the presentB * say 3 that for ten years with my breath 3 * have been breathing forms hard' 3 compact' 3 opa:ue' 3 frenetic' 3 forms without curves 3 into the limbo of my body not made 3 and which from this fact is made 3 and that * find each time the =L'LLL beings to critici+e me' 3 in order to block the attempt on the verge of a pierced infinite" 3 -uch are in any case the drawings with which * constellate all my notebooks3 )>+ The first !raphic si!ns other than the letters !ivin! for to the words that appear in the noteboo/s" around May )*1A" are so any dots scattered at different places on the pa!e" so heavily incised by his hand that the hollow of their trace is perceived two" four" or even siF pa!es further on3 The !esture that Antonin Artaud ust have ade to inscribe such heavy ar/s in the paper is certainly the sa e one that I saw hi repeat hundreds of ti es when" havin! discovered on his bac/" or his head" or any other part of his body a spot of particular pain" he would stic/ into it the point of his pencil or his /nife" pressin! as hard as possible for several inutes3 The first obGects he drew are !enerally found in the ar!ins: relatively !eo etrical in shape" they are often crosses" taus" coffins3 Then there are wo ens< bodies" so eti es deprived of their

ar s and with very lar!e breasts" al ost always studded on their whole surface with a ultitude of very blac/ dots3 &o eti es ele ents of one or the other of the lar!e drawin!s have been s/etched in the noteboo/s3 7pon his return to Paris" all the fury contained durin! his nine years of asylu set on fire the a assed aterials" provo/in! a confla!ration of words and for s3 The drawin!s in the noteboo/s" of which it cannot be deter ined if they are at the source of the teFt" aidin! its eFplosion" or if they acco pany and prolon! it" these drawin!s which in any case" as in the !reat Iwritten drawin!s"I are indissociable fro the writin!" )>* transfor ed3 Al ost always done with pencil lead" they are blac/" shinin!" carboniNed3 The solid hand of Antonin Artaud" this Iwor/er<s handI ))> whose vi!or is so clearly su!!ested in the last self?portrait" the one of the road fro the Indies" passes and passes a!ain a hundred ti es over the sa e line3 Always the sa e relation" this stru!!le a!ainst the subGectile" this sa e will to conquer it without sparin! it" to vanquish it" to draw fro it still ore than it can !ive3 &o eti es fi!urative 5there are several portraits" and even this astonishin! self? portrait with the /nife du! into the s/ull" with the wide blade reachin! the root of the nose6" they frequently represent weapons of tortureB dial? achinery" iron collars" wed!es" nails" plaques bristlin! with nails" !allows" winches" sta/es" and also coffins" bloc/s of wood" achines" boFes" they can beco e fantastic shapes" difficult to identify3 &o eti es it happens that whole pa!es have no drawin! on the : that occurs in !eneral if Antonin Artaud is writin! in in/" far less convenient for a/in! those si!ns that punctuate the vir!in pa!es3 If he uses a pen" it is al ost always that he is carried away by his subGect3 &o it is with the pa!es written for ;an Mogh le suicid de la socit (;an Mogh the .an -uicided by -ociety 3 =ut then the writin! itself" the breathin! space between the words" the slope of the lines" the for of the letters that" as in the Tarahu ara ountain" eta orphose into as any si!ns" all this concurs to a/e of the whole pa!e a !raphic desi!n" a reflection of the i pulse that !uided the hand3 Kow to separate the writin! fro the word" the drawin!s fro the writin!" how to define the because to define is to separate and to conde n to death: IA thin! na ed is a dead thin!" and it is dead because it is separated3I ))) These drawin!s that are not drawin!s" that cannot be defined" that are Gust as uch words as what he ter s tru eauF 8IpiersI or Ipier !lassesI9 5and the old eanin!" the first eanin! of the word tru eau is le!" the calf of the le!6" these drawin!s are livin!" they are there" upon the written pa!e" but they are also elsewhere" further off" they do not die" their birth is uninterruptedB these are not drawings' 3 they do not figure anything' 3 do not disfigure anything' 3 are not there to construct' 3 edify' 3 institute 3 a world 3 even abstract' 3 these are notes' 3 words' 3 trumeau&' 3 they are ardent' 3 corrosive' 3 incisive' 3 spurting forth 3 from * don%t know what whirlwind 3 of under)ma&illary 3 under) spatulary 3 vitriol 3 for they are there as if nailed down 3 and destined no longer to move' 3 trumeau& then' 3 but making their apocalypse 3 for they have said too much about it to be born 3 and have said too much in being born 3 not to be reborn 3 and take on their body 3 then authentically3 ))@

And these drawin!s" these e bers !atherin! the selves to!ether to ta/e on a body" they would be nothin! if we did not leave the written pa!e3 To understand the " Antonin Artaud tells us" once havin! left this written pa!e we ust further ore Ienter into the real"I ))D an operation that would be insufficient if afterward we did not leave Ithe real" to enter into the surreal"I ))1 into which they plun!e us and fro which they co e" these drawin!s that Iare in fact ' only the co entary of an action that has really ta/en place" ' the fi!uration ' on the circu scribed paper ' of a thrust that has ta/en place ' and has produced a!netically and a!ically its effects3I ))A Just li/e the word" these drawin!s are Ibreathed"I )), they are produced by the breath" by the whole body of the an Antonin Artaud who says itB Ithey are purely and si ply the reproduction on paper ' of a a!ical !esture ' that I eFercised ' in real space ' with the breath of y lun!s ' and y hands" ' with y head ' and y @ feet" ' with y trun/ and y arteries" etc3I ))2 The an writin! that is the one who wanted Iwith the hiero!lyph of a breath to find a!ain an idea of the sacred theater"I ))+ who for lon! years thou!ht that breath had to acco pany every effort" that it Ireli!hts life"I ))* and that" nourishin! life" breathin! Iper its us to cli b bac/ up the sta!es by the stepsI: )@> so he now /nows Ithe visual" obGective value of the breath3I )@) ;ritin!" sin!in!" or drawin!" he is not only writin!" sin!in!" or drawin!" he is wor/in! with his whole body and with his breath risin! fro the ost profound depths of his lun!s" su onin! and creatin! a world throu!h written words" uttered or drawn" words or consonances Iwhich act3I )@@ Then these drawin!s the selves" these violent obGects'acts hurled into space" I;hat are theyL ' ;hat do they eanL ' The innate tote of an3 ' The a ulet to co e bac/ to an3I )@D ConGurin! obGects" li/e those spells" they are breathed out" eFpelled with all the force of respiration Ito assassinate a!ic"I to brin! bac/ Ithe ti e when an was a tree without or!ans or functions" ' but ade of will" ' and a tree of a will on the arch3I )@1 Cashioned for eForcis and war" the pencil lead !ives the the flash of etal3 They shine" li/e blac/ weapons" they flash li/e bonfires to help in piercin! throu!h the shadows" in triu phin! over the innu erable ene ies of the true hu an body3 Their reason for bein! is not aestheticB it is" profoundly" that of disbandin! the troops of nothin!ness" these Ibeasts without will or proper thou!ht" ' that is" without proper pain" ' without the acceptance in the of the will of a proper pain" ' and who have not found any other eans of livin! ' than to falsify hu anity3I )@A May? Au!ust )*+1

(otes
)3 A third drawin!" with hi!hli!hts in color" is also si!nedB it is a postcard co posed by Antonin Artaud" but whose date we /nowB July )*@)3 I would thin/ it ore li/ely that the socalled ChPtelard landscape" because of this sa e postcard for at" ust date fro )*@>?)*@)3 This portrait was reproduced in La ,our de feu' no" K@)KD ( $ecember =?A? ' p" =H' with this inscription! (5ortrait of one of $r" $ardel%s patients' painted by Antonin Artaud"( 5ierre Chalei&' who took the photograph' published in the same

@3

issue an interview he had just had with .adame ,oulouse! (1efore -urrealism3 Artaud at $r" ,oulouse%s( (pp" AA)KL ' in which he alluded to this charcoal drawing and the page on which it was reproduced! (.y attention has been taken for the last few moments by two little drawings under glass that .adame ,oulouse is going to get down" " " " ,hey are charcoals by Antonin Artaud' with violent contrasts' portraits of a sick woman patient of $r" $ardel"( Gow these two charcoals were e&hibited at the Gational 1ook League' with the caption! (,wo charcoal sketches of a patient at ;illejuif'( which would make the young woman a patient of $r" ,oulouse" ,his last supposition may have been just something the cataloguer deduced' for a few months later' .adame .alaussna' in giving these two drawings to the -wedish Cultural Center' entitled them! (5ortraits of the patient 1"' =?CL'( which could just as easily be a patient of $r" $ardel in the beginning of =?CL as a patient of $r" ,oulouse from the end of .arch =?CL" -o we have preferred to stick with the first indications given by .adame ,oulouse' some twenty years earlier" D3 II" )2)3 In the short references to Artaud<s wor/" the ro an nu eral refers to the volu e of his 6euvres complFtes 5 ParisB 0alli ard" )*A,ff36" and the arabic nu eral to the pa!e of this volu e3 II" )2@3 Ibid3 Ibid3 (" DD3 II" )2D3

13 A3 ,3 23 +3 *3

The play was included a!ain in the repertory for the )*@D?)*@1 season" and then for the )*@,?)*@2 season" but never produced3 )>3 I et Mvonne 0illes in )*1*)*A>" and she told e she had done a portrait of Antonin Artaud" so it was a true eFchan!e3 ))3 Antonin Artaud" #ettres W 0nica Athanasiou 5 ParisB 0alli ard" )*,*6" p3 1,3 )@3 III" )))" letter to Mvonne 0illes about 4ove ber @@" )*@D3 )D3 %ne of the teFts that a/e up #<% bilic des li bes 5The 7 bilicus of #i bo6 has as its title IPaul les %iseauF ou la Place de l<A ourI 5Paul the =irds or the Place of #ove6 5cf3 I" A1?A,6" whose the e was ta/en fro IPaolo 7ccello"I in (ies i a!inaires 5I a!inary #ives6 by Marcel &chwob3 A first version of this teFt was called IDra e entalI 5Mental Dra a63 The fact that Antonin Artaud chose to illustrate one of his first theoretical teFts on the theater by these two sche as see s to indicate that he had intended to provide a scenic transcription of #a Place de l<a our3 )13 MaF Jacob" #ettres auF &alacrou 5 ParisB 0alli ard" )*A263 #etter of %ctober )*" )*@1B II /now how the !enius raises his !lass and puts on his soc/s3 Artaud raises his !lass li/e the profound an he isB I a not usin! the word !enius in vain3 3 3 3I

)A3 III" )@,3 ),3 (" )@)3 )23 (II" 1+)" n3 D3 )+3 I" ,@3 )*3 I" )12?)1+3 @>3 Andr =reton" $ntretiens 5Interviews6 5 ParisB 0alli ard" )*A@6" p3 ))>3 @)3 II" )A3 @@3 Ibid3 @D3 II" @23 @13 II" DA3 @A3 Ibid3 @,3 Ibid3 DA3 I(" )),3 D,3 (III" @A+3 D23 TeFt of Cebruary )*123 D+3 (" )@)3 D*3 TeFt of Cebruary )*123 1>3 Ibid3 1)3 Ibid3 1@3 In an article entitled Antonin Artaud cheN 0aston CerdiUreI 5Antonin Artaud at 0aston CerdiUre<s6 5 #a Tour de feu" no3 ,D?,1 8 Dece ber )*A*9" pp3 2A?2+6 Delan!lade !ives his own versionB ICro that day" I ean in the onth that followed the electroshoc/ therapy" Artaud was transfor ed3 Ke really be!an to initiate hi self afresh into creative activity3 Profitin! fro the occasion and with the totally !ratuitous !oal of distractin! hi " I led hi into the studio where I painted Gust for the pleasure of it" in order to <a use< hi with colors3 That<s where he s/etched very carefully y portrait in charcoal" which he wiped out and be!an a!ain several ti es3 It was the start of a far ore serious picture production3I ;e do not /now if it is in order to flatter his friend 0aston CerdiUre that Delan!lade attributes the re!ainin! of interest in drawin! to the electroshoc/ therapy" but it is certainly obvious that he shows" durin! his entire account" an

eFtraordinary disdain for Antonin Artaud: it is i possible to say if it is si ply a lac/ of breedin! or silliness that enables hi to declareB ITo be done with Artaud" you have to be aware that the literature of ad en has in it wor/s far ore poetic than those of Artaud" who I reproach for not havin! had a talent ?let<s not even say the word !enius ?? at the level of the eFceptionally fortunate adventure that he was able to have as soon as he was placed in the /eepin! of Dr3 CerdiUre3I 0iven what these lines reveal of the behavior of Crdric Delan!lade concernin! Antonin Artaud" it is in no way surprisin! that the latter" scarcely out of HodeN" should have Gud!ed hi ore than harshly3 In the part of his Gournal published under the title $n co pa!nie d<Antonin Artaud 5In the Co pany of Antonin Artaud6 5 ParisB Cla arion" )*216" Jacques Prevel relates 5p3 )+6 this conversation with Antonin Artaud on June D" )*1,B IKe spea/s to e about a painter" so eone na ed Delan!lade" who has so e of his drawin!s3 An i!noble individual" he says3I 1D3 X" )*," a letter of Cebruary A" )*11" to Dr3 CerdiUre3 113 Antonin Artaud" 4ouveauF crits de HodeN 54ew ;ritin!s fro 0alli ard" )*226" p3 )D)3 HodeN6 5 ParisB

1A3 Jean Dubuffet did not receive the drawin!s" presu ably !iven by An tonin Artaud to the secretariat of the asylu to be sent to hi " because he answers on January )A" )*1AB IMou say that you sent e two lar!e drawin!s in color" and I haven<t received anythin! at all3I 1,3 XI" @>" a letter of January )>" )*1A" to Jean Paulhan3 123 IX" D+3 1+3 Ibid3 1*3 IX" ,D3 A>3 IX" )>@3 A)3 IX" @,3 A@3 Ibid3 AD3 XI" +)?+@" letter to Dr3 Jean Deque/er" at the end of April )*1A3 A13 XI(" 223 This postscript to a letter addressed to Kenri Tho as on Cebruary )@" )*1," was added to refer to a sentence concernin! so e Idrawin!s in a noteboo/I that Jean Dubuffet had seen durin! a visit to HodeN so e onths earlier3 Kowever" because of the allusion to colors" it see s to apply above all to the lar!e drawin!s3 Those of the noteboo/s are indeed in !raphite pencil3 AA3 Artaud" 4ouveauF crits de HodeN" p3 ))D3 5The letter is !iven as a fra! ent whose be!innin! is supposed to have been lost3 In fact" it is an addition to the letter of Cebruary @+" )*1,36

A,3 XXI" @D+3 A23 XIX" @A*3 Co A+3 XX" D1>3 A*3 XX" )2>3 Co ,>3 XXI" @,,3 ,)3 XXI" @D@3 Co ,@3 XXI" @,,3 ,D3 IX" ))?D>3 ,13 IX" )DD?)1,3 ,A3 XX" @*A3 ,,3 XI(" @,3 ,23 Prevel" $n co pa!nie" relates 5pp3 ))?)A6 his first visit to Ivry on May @*" )*1," durin! which Antonin Artaud showed hi the drawin!s brou!ht bac/ fro HodeNB I MonsieurDubuffet"I he says" showin! e a drawin!" Itold e that he had never seen a drawin! possessin! such a nervous intensity3I It<s a very stron! drawin! in blac/ pencil" a wo an<s face convulsed in terror" with her breast at the height of her abdomen" 1eside it' a tree" *t%s this tree that occasioned $ubuffet%s remark3 A few minutes later' Artaud will e&plain to $r" $elmas! (*t%s a chamberpot knocked over by a broom"( It<s obviously the drawin! Gust alluded to that he is tal/in! about3 =ut we have to ta/e account of the fact that Prevel wrote in his Gournal once he had !one ho e" that he ust have seen a rather !reat nu ber of drawin!s" and that in his e ory he iFed up the broo handle with a tree3 As for the hel et with the handle" it could" of course" be seen as a cha berpot if it had a flat botto 3 #et<s say that it is between a cha berpot and a colonial hel et" and that it is co posed of both3 ,+3 ;e have to re e ber the portrait that Antonin Artaud was supposed to have done in charcoal of Delan!lade 5cf3 note 1@6" about which we do not /now if it was ever finished" nor its whereabouts if it was3 ,*3 Ho!er =lin" who had been a close friend of &onia Moss" reco!niNed her in this drawin!3 2>3 Prevel" $n co pa!nie" p3 )D" describes a drawin! shown on this sa e day of May @*" )*1,B IAnother ad irable drawin!" bri!htly colored" wild in its inspiration3 A entary on #a Mort et l<ho e3 entary on #a Maladresse seFuelle de dieu3 entary on Dessin W re!arder de traviole3

face is distin!uishable above the fla es3I Ke is undoubtedly spea/in! of the /in! of the Incas" but between the o ent when he saw this drawin! and the one when he wrote these lines" the blaNin! up of the colors ust have i posed itself on hi li/e a fire and he will re e ber it as fla es3 2)3 This self?portrait" which was then part of Dr3 CerdiUre<s collection" was reproduced for the first ti e in #a Tour de feu" no3 ,D?,1 5 Dece ber )*A*6" p3 @1" with this captionB I&elf?portraits of Antonin Artaud done at HodeN in )*11 and showin! in a !rippin! fashion his tactile and synesthetic hallucinations3 ' At the botto left" the s/etch of a nurse on duty3I =ecause the portrait is si!ned and dated and" besides" of a co pletely different style fro that of the very rare drawin!s done in )*11" we can ta/e the date of )*11 entioned in #a Tour de feu for a ista/e3 The plural of the word selfportraits would see to i ply that Antonin Artaud is represented ore than once3 %nly the face on the far ri!ht could be a second self?portrait" but I ad it that I a not at all convinced of it3 &o e twenty years a!o" Dr3 CerdiUre" showin! e one day the ori!inal of this drawin!" was still presentin! it as a self?portrait" addin! that the !eneral overseer of the psychiatric hospital at HodeN" Mada e H!is" was in it too3 =ut ore recently" Clorence de Mrdieu " in Portaits et !ris?!ris 5Portraits and A ulets6 5 ParisB $ditions =lusson" )*+16" p3 ,*" about this sa e drawin! said thisB IAlways desi!nated until now as a self?portrait of Antonin Artaud" the drawin! see s to us rather to represent Dr3 CerdiUre surrounded by his edical tea 3 Yuestioned on eFactly this point" 0aston CerdiUre does not entirely rule out this possibility" even specifyin! that the person on the botto left is no other than Mada e Houquette in char!e of the phar acy at HodeN3I This hypothesis see s to e without any foundation whatsoever3 In fact" in the sa e issue of La ,our de feu' both $r" FerdiFre and $r" $e:ueker formally testify that Antonin Artaud did his selfportrait at Rode+ and that it is e&actly this drawing of .ay ==' =?DK" *n a brief te&t' (1irth of the *mage'( which happens to be placed just across from the reproduction of the drawing' Bean $e:ueker recounts how he saw Antonin Artaud working several days in order (to create his double'( to have his own face appear on a sheet of paper" As for $r" FerdiFre' in an article entitled (B%ai soign Antonin Artaud( (* ,ook Care of Antonin Artaud ' pp" CH)@>' he is still more precise! (8e deliberately ripped up his work< * just managed to save the self) portrait that is shown in this issue< * said to him' in all sincerity' what interest * found in it< after a brief reflection' he gave it to me"( #ven if such proofs did not e&ist' there would be still less doubt about this drawing being a self)portrait because Antonin Artaud himself recogni+es it as such" * have myself noticed that it does not look much like him' but' if we e&amine it attentively' we can find some constants between this drawing and two other self)portraits! that of $ecember =>' =?DK' and the one that' undertaken a year later' remained unfinished" ,he way the hair grows is indicated in identical fashion" ,he treatment of the eyes and the mouth' very straight and taut' is the same" 2@3 The play was pic/ed up a!ain by the Co pany of the Thyase" under Michel de H<s direction" on the sta!e of the ThPtre A!nes Capri?0aZtMontparnasse fro 4ove ber )@" )*1," and !iven on the days there was no re!ular perfor ance3 M3 (ictor is dated 4ove ber A" )*1,3 The planned pro!ra was not even printed 5cf3 Prevel" $n co pa!nie" p3 *>6" presu ably for financial reasons3 It should have also contained a teFt of Antonin Artaud3 This teFt see s to have disappeared now3 Kavin! been !iven to Michel de H" it was placed by hi in a

suitcase confiscated for default of pay ent by a not very understandin! hotel proprietor3 The drawin! will be offered subsequently to Colette Allendy in e ory of the perfor ances at the ThPtre Alfred Jarry3 2D3 In his Gournal" $n co pa!nie" pp3 )@@?)@D" Prevel tells of havin! acco panied Antonin Artaud to y ho e3 That day" while he was wor/in! in y portrait" Prevel ade three s/etches of hi that were reproduced in the IArtaudI issue of the a!aNine 6bli:ues 5no3 )>? ))" Dece ber )*2," p3 @>@63 At one o ent when they were alone in the roo " Prevel as/s hi if he can illustrate one of his poe s3 Antonin Artaud accepts3 IKe as/s e"I writes Prevel" Ifor a sheet fro y noteboo/ and a/es e a terrifyin! drawin!" eFtraordinary in evocative power3I Prevel custo arily used s/etchboo/s that were @>3A [ @23A centi eters" which !ives us the probable di ensions of the drawin! by Antonin Artaud" whose whereabouts we do not /now3 Kis story is dated April @+" )*123 Kowever" the drawin! by Antonin Artaud and one of the s/etches ade by Prevel the sa e day are both dated April @2" )*123 It is true that in his Gournal the entry for April @2 follows the account of the @+th" which is ineFplicable unless we decide that the @+th indicates the day when he draws up the tale of the facts that happened the day before3 This drawin! will be reproduced as the frontispiece of the copies nu bered ) to )>> of the collection of Prevel<s poe sB $e colFre et de haine' a collection that opens precisely with the poem for which the drawing was done ( 5aris! #ditions du Lion' =?AL < a large portrait against a background of te&t' dated April CK' =?D>' was the frontispiece for the copies numbered =L= to CLL" ,he drawing of April C>' reproduced in the catalogue of the e&hibition (5aris)5aris( (Centre Meorges 5ompidou' .ay CH)Govember C' =?H=' p" =A> ' although it was not in the e&hibition' was afflicted with this erroneous caption! 5ortrait de Bac:ues 5revel' =?D>" ,his monumental error is reiterated afterward' each time the drawing is reproduced" 213 All in all" Antonin Artaud would do only two co issioned portraits that were paid for as such" the one of Michel Tapi de Celeyran and the one of #ouis =roder3 ;e have not been able to discover their whereabouts3 2A3 I#e (isa!e hu ain3 3 3"I a teFt included in the catalo!ue of the eFhibition IPortraits et dessins par Antonin ArtaudI 50alerie Pierre" Paris" July 1@>" )*1263 2,3 Included with two other portraits of e eFhibited at the 0alerie Pierre" it was the only one not returned3 Disturbed by this" I as/ed Pierre #oeb about it" and received the answer that it had been lost durin! the fra in!3 223 TeFt of June )*123 2+3 Ibid3 8In Crench" Antonin Artaud puts a circu fleF on the word espUce" even ar/in! it twice above the letter39 2*3 Antonin Artaud will later do the portrait of #ili Dubuffet3 The two drawin!s were entrusted in July )*12 to the 0alerie Pierre for the eFhibition IPortraits et dessins3I Accordin! to the infor ation that was furnished us by the office of Jean Dubuffet" one of the " ineFplicably" was not returned after the eFhibition3 The

other was !iven by Jean Dubuffet to his brotherin?law3 +>3 Cf3 Prevel" $n co pa!nie" p3 ,>3 +)3 Jean Dubuffet did three portraits of Antonin ArtaudB Portrait d<Antonin Artaud" pencil and !ouache" Au!ust )*1,: Antonin Artaud cheveuF panouis" pencil and !ouache" Au!ust )*1,: Antonin Artaud auF houppes" oil on canvas" January D" )*123 Catalo!ue raisonn! des travauF de Jean Dubuffet 5 ParisB J3 J3 Pauvert" )*,1ff36" vol3 DB IPlus beauF qu<ils croient 5portraits6"I by MaF #oreau3 +@3 TeFt of June )*123 +D3 Ibid3 The teFt of June )*12 fro which we have cited eFtracts is a first version of the one in the catalo!ue" I#e (isa!e hu ain 3 3 3I3 +13 Mania %Vfer" who beca e Mania 0er ain" re e bers Antonin Artaud sayin! to her" after havin! finished the portrait dated January )@" )*12" that he had seen her as an I$liNabethan sylph3I About the one of May )*12" done on a day she was not well" he offered this eFplanation as the picture he !ave of her fri!htened herB IIt isn<t the outside I wanted to show" but the inside3I Mania 0er ain thin/s that the last one chronolo!ically is the one of January )@" )*123 Kowever" it is the date of May )*12 that Antonin Artaud inscribed under his si!nature" at the botto of the second one3 More than once we have found ista/es about the day or the date" and so e errors in the year" but it is not li/ely that you can a/e a ista/e about the onth" even if Gust because of the weather or the len!th of days3 =esides" the three portraits of Mania 0er ain" the third one datin! fro &epte ber )*1," s aller in siNe" were done before June )*12 because" a/in! up the list of drawin!s he wanted to eFhibit at the 0alerie Pierre" Antonin Artaud notesB IMania %Vfer" D portraits3I +A3 XX" )D)3 +,3 I#e (isa!e hu ain 3 3 3I3 +23 I(" *+3 ++3 I(" )1A3 +*3 XIII" 1+3 *>3 I(" )113 *)3 (" )*,3 *@3 I(" )1,3 *D3 I#e (isa!e hu ain 3 3 3I3 *13 IAliner l<acteur"I #<ArbalUte" no3 )D 5 &u er )*1+63

*A3 This portrait was done and !iven to Kenri Pichette to use as a frontispiece for the

ApoFmes 5 ParisB $ditions Containe" )*1263 Kenri Pichette had as/ed what Antonin Artaud wished to say about it3 I yself trans itted the answer to hi : it wasB Iwith a !ri?!ri by Antonin Artaud3I *,3 Cf3 Prevel" $n co pa!nie" p3 )1+3 *23 There were" in fact" two readin!s of teFts3 The first was for Gust the friends Pierre #oeb had invited on the evenin! of the vernissa!e" July 1" )*123 Antonin Artaud announced the recital of teFts by Colette Tho as" who read one teFt on the theater" IAliner l<acteurI 5To Alienate the Actor6" and Marthe Hobert" who read I#e Hite du Peyotl cheN les Tarahu arasI 5The Hitual of Peyotl in the Tarahu aras6" this latter readin! punctuated by cries and noises by Antonin Artaud" who was hidden 5cf3 Prevel " $n co pa!nie" p3 )A>63 Ho!er =lin" althou!h he was present" read nothin! that evenin!3 %n the ,th" Antonin Artaud wrote hi to as/ for his participation in the readin! of Criday the )+th" which too/ place in front of an invited public3 I#e ThPtre et la scienceI 5Theater and &cience6 was written between July A and July )+3 Antonin Artaud read it at the be!innin! of the evenin!3 Then a recital by Colette Tho as of IAliner l<acteurI and by Marthe Hobert of the teFt she had already read on the 1th3 %n the )+th" Antonin Artaud procured a !on! that he beat with a lar!e po/er to acco pany I#e Hite du Peyotl3I Ho!er =lin ended the perfor ance by readin! I#a Culture indienneI 5Indian Culture6 5cf3 Prevel" $n co pa!nie" p3 )AA" and Co bat of July @A" )*1263 *+3 I#e ThPtre et la science"I #<ArbalUte" no3 )D 5 &u **3 (II" +13 )>> In order to !et a better li/eness of Mvonne Allendy" whose face appears in several 3 of his last drawin!s" Antonin Artaud had as/ed her sister Colette for a photo!raph of her3 )>) 0ivin! e very precise instructions for fra in! it 5a blac/ as/" with a beadin! 3 of dar/ !arnet?red" the color of dried blood6" Antonin Artaud si!ned and dated the portrait in the first days of )*1+" whence his error concernin! the year3 As I pointed it out to hi " he refused to correct it" tellin! e it had no i portance3 In Dece ber" he had also underta/en another self?portrait but did not finish it3 The hair" in particular" is barely s/etched in3 )>@ =esides this drawin!" to y /nowled!e" the portrait of Alain 0heerbrant is the 3 only one where the face is put in the center of the sheet spread out horiNontally3 It is possible that a on! the drawin!s done at HodeN" all trace of which see s to be lost" there are so e horiNontal ones3 )>D %n June )>" )*12" Prevel" $n co pa!nie" p3 )11" notes the followin!B I Artaud 3 twisted the po/er fro his fireplace" beatin! it until it beca e a twisted piece of iron in the for of a sna/e3 Ke yelled" shrie/ed" and battled the spirits furiously3 &uddenly he attac/ed the drawin! hun! on the wall" addin! fla es to the persona!e representin! hi there3 These fla es went strai!ht throu!h his chest3 <4ow it<s beco in! so ethin!"< he says3I It could be that this is Gust the drawin! in question" which would testify to Antonin Artaud<s retouchin! it repeatedly3 er )*1+63

)>1 XIII" )123 3 )>A 4o ore than there was any direct influence of Antonin Artaud on the theater" but 3 only a few references" partial borrowin!s" contradictions" or various alibis" and a basic i possibility of thin/in! of the theater without his na e co in! up" and" ore or less partially" what he wrote about it3 &trictly spea/in!" there is not any direct influence in the visual do ain: there cannot be any to the eFtent that his drawin!s bear witness to a lived eFperience" and are" as he says" !estures3 This is eFactly why" in certain conte porary painters" we see one or another of his self? portraits appearin! Gust as a quotation" for eFa ple" in &tartin! to &in!B Artaud" )*+)" by Julian &chnabel" or in #!er et Antonin Artaud" )*+D" by $rrR3 )>, Antonin Artaud ust be a/in! an allusion to the spells he was 3 $vrard" but it was in May and not in %ctober )*D*3 a/in! at (ille?

)>2 IDiF ans que le lan!a!e est parti3 3 3I #una?Par/" no3 A 5 %ctober )*2*63 3 )>+ Ibid3 3 )>* Antonin Artaud insisted on illustratin! Artaud le M\ o 5 ParisB =ordas" )*126 3 with drawin!s ta/en fro his noteboo/s" an additional proof that he did not dissociate his poe s fro his drawin!s3 ))> IMain d<ouvrier et ain de sin!eI 5;or/er<s Kand and Ape<s Kand6" ]B Hevue de 3 la posie" no3 )?@ 5 June )*1+63 ))) (II" A)3 3 ))@ IA> dessins pour assassiner la a!ieI 5A> Drawin!s to Assassinate Ma!ic63 3 Antonin Artaud had planned to publish a boo/" edited by Pierre #oeb" where fifty drawin!s chosen fro his noteboo/s would be reproduced3 To introduce the " he wrote this teFt on January D)" )*1+3 Then he !ave e the responsibility of choosin! in his noteboo/s fifty drawin!s fro those that see ed to e the best3 The proGect was never co pleted" because Antonin Artaud died shortly thereafter" on March 1" )*1+3 ))D Ibid3 3 ))1 Ibid3 3 ))A Ibid3 3 )), Kere we have to reread the teFt that Jacques Derrida entitled" precisely" I#a 3 Parole souffle"I in #<$criture et la diffrence 5 ParisB $ditions du &euil" )*,26"

and tell hi how uch we owe hi for havin! opened the way for a new readin! of Antonin Artaud3 The word that is stolen'breathed is a word robbed as well as inspired3 =ut it can also be a word which" precisely because it is souffle" because it is or!anic" succeeds" by the wor/ of the breath" in findin! once ore on the inside of the body what had been ta/en away fro it3 ))2 IA> dessins pour assassiner la 3 ))+ I(" )1,3 3 ))* I(" )@+3 3 )@> I(" )@*3 3 )@) IA> dessins pour assassiner la 3 )@@ Ibid3 3 )@D IDiF ans que le lan!a!e est parti3 3 3I3 3 )@1 #etter to Pierre #oeb" April @D" )*12" #es #ettres nouvelles" no3 A* 5 April )*A+63 3 )@A Ibid3 3 a!ie3I a!ie3I

)ac*ues Derrida

I would call this a scene" the Iscene of the subGectile"I if there were not already a force at wor/ prepared to di inish the scenic ele entsB the visibility" the ele ent of representation" the presence of a subGect" even an obGect3 &ubGectile" the word or the thin!" can ta/e the place of the subGect or of the obGect ?? bein! neither one nor the other3 Three ti es at least" to y /nowled!e" Antonin Artaud na es Iwhat is called the subGectile3I Ke says eFactly thatB Iwhat is called 3 3 3 3I Indirect na in!" invisible quotation ar/s" an allusion to the discourse of the other3 Ke uses the word of the others but perhaps he will have it say so ethin! else" perhaps he will tell it to do so ethin! else3 All three ti es" he is spea/in! of his own drawin!s" in )*D@" )*1," and )*123 4evertheless" is it li/ely that he really ever spoke about his drawin!sL And above all" that we can or are able toL ;e won<t tell the story of the subGectile" rather so e record of its coming)to)be3 The first ti e 5later we will pay attention to what only happened once for Artaud6" on &epte ber @D" )*D@" he concludes a letter to Andr Holland de Henville li/e thisB IKerewith a bad drawin! in which what is called the subGectile betrayed e3I ;ait a inuteB a subGectile can betrayL

And wait a inuteB when Artaud evaluates his paintin! or his drawin!s" when he bad ouths the 5Ia bad drawin!I6" a whole interpretation of what is bad is behind this3 Already in )*D@" it is not si ple to fi!ure out what he is indictin! hereB it is not only a question of technique" of art" or of s/ill3 The indict ent is already leveled at !od" is denouncin! so e treason3 ;hat ust a subGectile do to co it treasonL

In )*D@" the word could see to have been recently created3 The current dictionaries then had not yet ad itted it to the spo/en ton!ue3 &o the le!iti acy of a IsubGectileI re ains in doubt3 Paule Thvenin 5who has said everythin! that has to be /nown about Artaud<s drawin!s and whose wor/ I a presu in! everyone /nows6 ) Gud!es it necessary to be ore precise in a noteB IPerhaps it<s in the part torn fro this letter that the drawin! was to be found3 Antonin Artaud" havin! considered it too revealin!" ust have re oved it" tearin! off the botto of the pa!e3 Ke certainly wrote <subGectile3<I @ This note tells us at least two thin!s3 Cirst" a drawin! can be a part of a letter" which is co pletely different fro Gust acco panyin! it3 It joins with it physically because it is only separate by dint of bein! Ithe part ripped off3I And then to betray can be understood in a very particular senseB to fail in one<s pro ise" belittle the proGect" re ove oneself fro its control" but in so doin! to reveal the proGect as it is thus betrayed3 Translatin! it and dra!!in! it out to broad dayli!ht3 =etrayin! the subGectile would have ade the drawin! Itoo revelatory"I and of a truth sufficiently unbearable for Artaud to destroy its support3 This latter was stron!er than hi " and because he had not astered the rebel" Artaud is said to have snatched it away3 IKe really wrote <subGectile3<I Paule Thvenin warns those who" because they do not /now this rare word" i!ht be te pted to confuse it with another3 ;ith what other word could we have confused the drawin! itself" that is" the !raphic for of the IsubGectileIL ;ith IsubGective"I perhaps" the nearest possible treason3 =ut so any other words" a !reat fa ily of bits and snatches of words" and Artaud<s words are hauntin! this word" drawin! it toward the dyna ic potential of all its eanin!s3 =e!innin! by subGective" subtle" subli e" also pullin! the il into the li" and endin! with proGectile3 This is Artaud<s thought3 The body of his thou!ht wor/in! itself out in the !raphic treat ent of the subGectile is a dra atur!y throu!h and throu!h" often a sur!ery of the projectile3 =etween the be!innin! and the end of the word 5sub3tile6" all these persecutin! evils e er!in! fro the depths to haunt the supports" the substrata" and the substancesB Artaud never stopped na in!" denouncin!" eForcisin!" conGurin!" often throu!h the operation of drawin!" the fiends and the succubi" that is the wo en or sorcerers who chan!e their seF to !et in bed with an" or then the va pires who co e to suc/ your very substance" to subGu!ate you to steal what is ost truly yours3 Throu!h the two eFtre ities of his body" such a word" itself subGectile" can" li/e the drawin! of a chi era" in!le with everythin! that it is not3 Althou!h it see s so close to the " it lures the toward the illusion of an entire rese blanceB the subGective and the projectile3 ;hat is a subGectileL #et<s !o slowly" not rushin! thin!s" learnin! the patience of what is developin!" and a/e it preciseB what is Icalled the subGectileIL Cor Antonin Artaud doesn<t spea/ of the subGectile" only of what Iis calledI by this na e3 To ta/e account of the callin!" and what is called3 A subGectile first of all is so ethin! to be called3 That the subGectile is something is not yet a !iven3 Perhaps it co es across as bein! someone instead" and preferably so ethin! elseB it can betray3 =ut the other can be called so ethin! without bein!" without bein! a bein!" and above all not a subGect" not the subGectivity of a subGect3 Perhaps we don<t /now yet what Iis calledI li/e this Ithe subGectile"I the subGectility of the subGectile" both because it does not constitute

an obGect of any /nowin! and because it can betray" not co e when it is called" or call before even bein! called" before even receivin! its na e3 At the very o ent when it is born" when it is not yet" and the drawin! of Artaud situates this coup de force" a subGectile calls and so eti es betrays3 That<s what I can say about it to be!in with3 At least in this lan!ua!e3 In Crench" we thin/ we have Gust found out recently what the word IsubGectileI eans currently3 ;e believe it to be conte poraneous with Artaud3 Conte porary dictionaries date it fro the iddle of the twentieth century3 =ut they are wron!" they are really reactivatin! an old word" Crench or Italian3 ^ 8I a addin!
three details" which all depend on teFts I have Gust beco e acquainted with" after this anuscript had already !one to the printer39 The notion belon!s to the code of paintin! and desi!nates

what is in so e way lyin! below 5subjectum6 as a substance" a subGect" or a succubus3 =etween the beneath and the above" it is at once a support and a surface" so eti es also the atter of a paintin! or a sculpture" everythin! distinct fro for " as well as fro eanin! and representation" not representable3 Its presu ed depth or thic/ness can only be seen as a surface" that of the wall or of wood" but already also that of paper" of teFtiles" and of the panel3 A sort of s/in with pores3 ;e can distin!uish two classes of subGectile" by a criterion that will decide everythin! in Artaud<s way of operatin!B in this apparently anual operation that is a drawin!" how does the subGectile per it itself to be traversedL Cor we oppose Gust those subGectiles that let the selves be tra versed 5we call the per eable or porous" li/e plasters" ortar" wood" cardboard" teFtiles" paper6 to the other i per eable ones 5 etals or their alloys6 that per it no passa!e3 About the subGectile we would have to ?? yes ?? write what is untranslatable3 To write accordin! to the new phrasin!" but discretely" for resistance to translation when it is deliberate" noisy" spectacular" we already /now it has been repatriated3 In truth its secret should only be shared with the translator3 A subGectile appears untranslatable" that is aFio atic" it sets up the stru!!le with Artaud3 This can ean at least two thin!s3 Cirst" the word IsubGectileI is not to be translated3 ;ith all its se antic or for al /inship" fro the subGective to the tactile" of support" succubus or fiends with a proGectile" etc3" it will never cross the border of the Crench lan!ua!e3 =esides" a subGectile" that is to say the support" the surface or the aterial" the unique body of the wor/ in its first event" at its moment of birth" which cannot be repeated" which is as distinct fro the for as fro the eanin! and the representation" here a!ain defies translation3 It will never be transported into another lan!ua!e3 7nless it is ta/en over bodily and intact" li/e a forei!n substance3 &o we shall be able to concludeB 5)6 ;hat eFceeds translation really belon!s to lan!ua!e3 5@6 ;hat so drastically eFceeds lin!uistic transfer re ains on the contrary forei!n to lan!ua!e as an ele ent of the discourse3 5D6 The word IsubGectileI is itself a subGectile3 Kow to easure the consequences of this paradoFL I will dare to clai that we have to e broil ourselves in the paradoF in order to !et anywhere near the painted or drawn wor/ of Artaud3 This spatial wor/ would be first of all a corporeal stru!!le with the question of lan!ua!e ?and at the li it" of usic3 4o way of passin! over this factB what I a writin! here in Crench" in a lan!ua!e that was up to a certain point and ost often that of Artaud" is first appearin! in a

lan!ua!e said to be forei!n3 Mou are readin! in 0er an here ^ 8At the o ent when these pa!es were written they were supposed to appear first" in fact only" in 0er an translation39 what was first intended to offer a subtle resistance to translation3 =ut since you are readin! e in 0er an" it eans that this teFt has nevertheless been translated" whereas at no o ent would one have thou!ht of translatin! the drawin!s or the paintin!s" nor indeed the words or phrases contained in the ?? in Artaud<s own hand3 Incorporated" that is to say" inscribed in the !raphic corpus in the very substance of the subGectile3 To challen!e the forei!ner" not in order to write in !ood old Crench" but on the contrary to perfor an e&periment" to translate the crossin! of y lan!ua!e" to the point of forcin! the Crench" y natural lan!ua!e" the only other ton!ue able to serve as an ulti ate support to what I a callin! upon first3 The Crench lan!ua!e is the one in which I was born" if you can put it li/e that" and in which *find myself even as I debate with it or a!ainst it3 I a writin! from within the substance of the Crench lan!ua!e3 5Kow will they translate thatL6 4ow at the o ent of spea/in! the lan!ua!e said to be aternal" I re e ber the last stop of the subGectile" the ulti ate occurrence of the word in the hand of Artaud3 Cather and other are not far offB IThe fi!ures on the inert pa!e said nothin! under y hand3 They offered the selves to e li/e illstones which would not inspire the drawin!" and which I could probe" cut" scrape" file" sew" unsew" shred" slash" and stitch without the subGectile ever co plainin! throu!h father or throu!h otherI 5 )*1263 Kow can an untranslatable subGectile betray" we were wonderin! Gust a o ent a!o3 ;hat ust it have beco e now" in the return of the word fifteen years later" in order never to co plain Ithrou!h father or throu!h other"I at the o ent when I a attac/in! its unresistin! body with so any coups de force and in so any ways" !ivin! yself up to hi in order to !ive hi so any operations" when the sur!eon that I a de ands to probe" cut" scrape" file" sew" unsew" shred" slash" and stitchL ;hat had happened in the interval 5 )*D@?)*126L &o ethin!L An event" once" on such and such a dateL And since a certain day in 6ctober =?@? * have never again written without drawing3 Gow what * am drawing these are no longer themes of Art transposed from3 3 3 D 4o lon!er to have to transpose" to translate3 Must we write a!ainst our to do thatL Precisely in order to render what is untranslatableL other ton!ue

=ut no one can say cal ly that Crench was Artaud<s only other ton!ue" nor that lan!ua!e is Gust a support" as you i!ht say of a paper or a teFtile" of a wall or a panel3 7nless you treat it in its turn as a subGectile" this sort of subGect without a subGect" with this anner or this aneuver betrayin! the whole story in an instant" in fact the story of a betrayal3 =ein! and !od would be i plicated in this trial of the subGectileB perversion and alfeasance" subterfu!e or swindle3

&o it would be necessary" while drawin! by hand" to write a!ainst this lan!ua!e" and have it out with the so?called other ton!ue as with any other" a/in! oneself scarcely translatable" startin! fro it but also within it 5I a spea/in! of Auseinanderset+ung" of Pberset+ung" and" why not" of Jnterset+ung6" in it where I a supposed to have been born! but where I was still" Artaud would say" in the twist it i poses on the syntaF of this word innate3 This supposed natural ton!ue" this ton!ue you are born with" it will be necessary to force it" to render it co pletely ad" and in it a!ain the subGectile" this word that is scarcely even Crench" in order to describe the support of the picto!ra that is still resonatin! with the trace left in it by a proGectile3 This ca e to perforate its sensitive but so eti es resistant surface" the surface of a subGectivity appeased and reassuredB the precarious outco e of the wor/3 The 0er ans don<t have any word subjectile" althou!h they were the first to proGect this !reat corpus of Antonin Artaud<s picto!ra s" and to publish it separately" even thou!h it is inseparable3 As certain dictionaries tell us" we didn<t have this word in Crench either a short while a!o" but at least it suits our #atinity3 The 0er ans ?? thin/ of Cichte or Keide!!er ?have always tried to ta/e bac/ their lan!ua!e fro Ho e3 Artaud too" and this isn<t the only thin! they have in co on" however horrifyin! this see s to so e3 In other conditions" with ti e enou!h and ta/in! the necessary precautions" I would be te pted to insist on the possible encounters which did not ta/e place between Keide!!er and Artaud3 A on! any other the es" the one of the innate and the Jngeborene in Keide!!er<s readin! of Tra/l" and the question of bein!" quite si ply" and of throwing 8jeter9 and of giving 8donner93 Artaud" then" a!ainst a certain #atinity3 ;hat he says on this subGect about the mise) en)scFne is also valid" as is always true" for the picto!ra and for what doesn<t necessarily happen or does so only throu!h wordsB *n opposition to this point of view' which strikes me as altogether 4estern or rather Latin' that is' obstinate' * maintain that insofar as this language is born on the stage' draws its power and its spontaneous creation from the stage' and struggles directly with the stage without resorting to words " " " it is mise)en) scFne that is theater' much more than the written and spoken play" Go doubt * shall be asked to state what is Latin about this point of view opposed to my own" 4hat is Latin is the need to use words in order to e&press ideas that are clear" 1ecause for me clear ideas' in the theater as in everything else' are ideas that are dead and finished3 1 The 0er ans have no subGectile" but how would we /now that without Artaud" who doesn<t only use it but attac/s it" quarrels with it openly" seduces it" underta/es to pierce it throu!h" puts it throu!h the wrin!er" and first of all" na es itL 4ot so uch in order to do inate it but to deliver fro a do ination" to deliver so eone or so ethin! else that isn<t yet born3 Ke attac/s it li/e a #atin word3 ;ithout havin! any fear of the wordB li/e a #atin thin!" li/e this historical sedi entation of a thin! and a word consolidated near subGect and substance" fro Descartes<s Iclear ideas3I A I don<t /now if I a still CrenchL writin! in an intelli!ible Crench3 To unsense the subGectile" is that

Forcen" this word that I wanted to deco pose surreptitiously" subGectilely" in for" fort" force" fors" and n" lettin! all the words in or" hors" sort incubate in it" I thou!ht it was li ited to its adjectival usa!e as a past participle3 The infinitive see ed to e eFcluded" foreclosed in fact" and I thou!ht I was inventin! it for a cause requirin! so e forcin! of lan!ua!e3 =ut that isn<t it at all" for forcener eFists" even if its use is rare and out oded3 =ut only in an intransitive for 3 Mou can<t forcener un subjectile in Crench without forcin! the !ra ar of the word at the sa e ti e3 La forcbnerie or le forcFnement" the act or the state of the forcen" consists si ply" and intransitively" in forcener or in se forcener" that is to say" losin! your reason" ore eFactly" your sense" in findin! yourself hors sens" without sense 5fors and sen63 The ety olo!y the #ittr dictionary !ives see s reliable in this caseB IProven_al forcenat: Italian forsennato: fro the #atin foris" hors 8outside9" and the 0er an &inn" sens 8sense9B outside of your senses3 The spellin! forcen with a c is contrary to the ety olo!y and incorrect: it isn<t even borne out by traditional use" and only co es fro an unfortunate confusion with the word force" and it would be far better to write forsen3I The word would then correspond with the 0er an 4ahnsinnige about which Keide!!er re inds us that it doesn<t initially indicate the state of a ad an 5Meisteskrank6" of so eone entally sic/" but what is without 5ohne6 any sense" without what is sense for othersB I4ahn belon!s to %ld Ki!h 0er an and eans ohneB without3 The de ented person 8der 4ahnsinnige" which we could translate in Crench as forsen9 drea s 8sinnt9 and he drea s as no one else could3 3 3 3 Ke is !ifted with another sense 8with another eanin!" anderen -innes93 -innan ori!inally eansB to travel" to stretch toward 3 3 3" to ta/e a direction3 The Indo$uropean root sent and set ean path3I , I a sure that what I a writin! will not be translatable into 0er an3 4or into Artaud<s lan!ua!e3 &hould I be writin! li/e ArtaudL I a incapable of it" and besides" anyone who would try to write like hi " under the preteFt of writin! toward hi " would be even surer of issin! hi " would lose the sli!htest chance ever of eetin! hi in the ridiculous atte pt of this i etic distortion3 =ut we should not !ive in either to the /ind of Gud! ent about Artaud that will not be" any ore than his na e" the subGect or the obGect" still less the subGectile of so e learned dia!nosis3 All the ore because it is a atter of his drawin!s and his paintin!s" not only his speech3 Moreover" and we can verify this" he hi self never writes about his drawin!s and paintin!s" rather in them3 The relation is different" one of i precation and ar!u ent" and first of all one that relates to a subGectile" which is available for a support3 ;e cannot and should not write like Artaudabout Artaud who hi self never wrote about his drawin!s and paintin!s3 &o who could ever clai to write like Artaudabout his drawin!s or paintin!sL ;e have to invent a way of spea/in!" and si!n it differently3 Mes or no" we ust have done with the subGectile" a i e i!ht say3 And he wouldn<t be wron!" for we are spectators of the sceneB in this atter of the subGectile" it is certainly a Gud! ent of !od3 And it is certainly a atter of having done with it" inter inably3 #et<s !ive up for the o ent3

$ven thou!h a subGectile si!ns in advance" for Antonin Artaud" in this place of precipitation" even of perforation" in the very o ent when such a proGectile touches the surface" we have to learn not to be in a hurry to seiNe" to understand" we have to !ive the in/ of so any words depositin! the selves slowly in the thic/ness of the body ti e to !et absorbedB eFactly the thic/ness of the subGectile whose nature we still do not understand3 Does it even have an essenceL &o let<s not rush to the questionB what is a subGectileL ;hat is bein! when it is deter ined as a subGectileL The word should be translatable in 0er an" since it has to !o outside of Crench to return" crossin! the border several ti es3 7nless it should itself institute the border that it for s between beneath and above 5support and surface6" before and behind' here and over there' on this side and on that' back and forth" the border of a teFtile" paper" veil" or canvas" but between what and whatL Kow can we enter" by perforation or deflowerin!" into what has no consistency apart fro that of the between" at least unless we lend it another oneL 4o doubt the 0er ans will insert the #atin word li/e a forei!n body in their own lan!ua!eB intact" untouchable" i passive3 Perhaps that is Gust as well3 The eanin! of this bodily stru!!le with the subGectile will probably have beenB how do you address a forei!n bodyL ;hat about s/ill 8adresse9 and aw/wardness 8maladresse9 in relation to the forei!n bodyL ;hat about prosthesisL ;hat about that Iartificial fecundationI which Artaud protests" so as Ito have done with the Gud! ent of !odIL A subGectile is not a subGect" still less the subGective" nor is it the obGect either" but then eFactly what is it" and does the question of IwhatI have any eanin! for what is between this or that" whatever it isL Perhaps the interposition of a subGectile is what atters" in this atter of drawin! by hand" in this aneuver or eddlin! 8manigances93 Cirst of all let<s !ive up tryin! to be ever in front" face to face with the picto!ra s that will never be ob)jects or subGects present for us3 ;e won<t be describin! any paintin!s3 The paradi! of the subGectileB the table itself` ;e won<t even spea/ of it if to speak of eans to spea/ about obGects or subGects3 =ut if a subGectile is never identified with the subGect or the obGect even when it occupies their place and bein!" is it the sa e as what Artaud so often li/es to call a motifL 4o" it would prevent the otif" but the very counterforce of this prevention sets up an eFtre e tension3 ;hat eFactly is a otif" thenL ICor what is the otifL"I Artaud as/s in ;an Mogh le suicid de la socit 5 (an 0o!h the Man &uicided by &ociety6" i plyin! by the question that a otif is nothin!" but so sin!ularly nothin! that it never lets itself be constituted in the stasis of a bein!3 This word otif 5how will they translate thatL6 has the certain advanta!e of substitutin! the dyna ics and the ener!y of a otion 5 ove ent" obility" e otion6 for the stability of a ?ject 8Get9 which would set itself up in the inertia of a subGect or obGect3 ;hen he !ives up describin! one of van 0o!h<s canvases" Artaud inscribes the motif in the center of the IforcesI and the writing forces 5Iapostrophes"I Istrea/s"I Ico as"I bars"I etc36" with these acts of Ibloc/in!"I Irepression"I Ithe canvas"I and so on as prota!onists3 Kere we

have to quote" startin! with IKow easy it see s to write li/e this"I the whole pa!e that prepares the questionB ICor what is the otifLI -o * shall not describe a painting of van Mogh after van Mogh' but * shall say that van Mogh is a painter because he recollected nature' because he reperspired it and made it sweat' because he s:uee+ed onto his canvases in clusters' in monumental sheaves of color' the grinding of elements that occurs once in a hundred years' the awful elementary pressure of apostrophes' scratches' commas' and dashes which' after him' one can no longer believe that natural appearances are not made of3 And what an onslaught of repressed jostlings' ocular collisions taken from life' blinkings taken from nature' have the luminous currents of the forces which work on reality had to reverse before being finally driven together and' as it were' hoisted onto the canvas' and acceptedI ,here are no ghosts in the paintings of van Mogh' no visions' no hallucinations3 333 1ut the suffering of the prenatal is there3 2 The fact that later on van 0o!h is credited with havin! had Ithe audacity to attac/ a subGectI doesn<t ean that there was any subGect for hi " no atter how si ple" even if it happened to be Iof such disar in! si plicity3I In the flow of this way of spea/in!" it can be understood that the subGect precisely attac/ed was no lon!er !oin! to be one" or shouldn<t be one any lon!er3 And this is the followin! para!raphB I4o" there are no !hosts in van 0o!h<s paintin!" no dra a" no subGect" and I would even say no obGect" for what is the otifL ' If not so ethin! li/e the iron shadow of the otet of an ancient indescribable usic" the leit otiv of a the e that has despaired of its own subGect3 ' It is nature" na/ed and pure" seen 3 3 3I3 + ;e don<t /now what this otif is??neither this nor that??it doubtless no lon!er even belon!s to bein!" nor to bein! as a subGect3 If it is Iof natureI we shall have to thin/ of nature co pletely differently" and the history of nature" the !enealo!y of its concept" in other words of its birth and conceptionB up to the innate 8inn9" this neolo!is of Artaud where nature collides with its contrary" what is not born in what see s to be innate" the Isufferin! of the prenatalI which appears as a onstrosity3 7nder the surface of the word" and under the sense" hors sens" the passa!e fro motif to otet doesn<t obey only the for al attraction of the words" the moots' motifs" and motets" althou!h when you let the attraction play under the eanin!" you draw or sin! rather than spea/in!" you write the unwritable3 4o" this passa!e also convo/es the ultiplicity of the voices in a otet in paintin!3 It pro ises so ethin! essential in what Artaud still understands by paintin!B an affair of sonority" of tone" of intonation" of thunder and detonation" of rhyth " of vibration" the eFtre e tension of a polyphony3 This should be read li/e a boo/ about usic" accordin! to Artaud3 The Iancient indescribable usicI tears apart the veil of a birth" revealin! Ina/ed nature"I the

ori!in whose access has been forbidden by this Inature"I concealin! even the source of this interdiction3 The leit otiv" this really usical otif of paintin!" its !uidin! force and its aGor aesthetic passion" ust not be confused with a theme" the eanin! of an obGect or a subGect" such as it could be posed there3 A the e is always posed or supposed3 The leit otiv for its part doesn<t always answer in itself li/e a stable supportB no ore a subGectile" this last is carried away by the otif3 The property of a the e is what an eFpropriation has deprived us of" and it is as if we had been deprived of our own e ory" distanced fro our own birth3 Across the Iprenatal sufferin!"I we cannot eet bac/ up with innate nature 5in)n6 eFcept by forcin! the subGectile" renderin! it unsensed from birth3 Mou have to a/e it frenetically desire this birth" and to unsense it fro the outset in a/in! it co e out of itself to announce this neFt proFi ityB IIt is nature" na/ed and pure" seen as she reveals herself when one /nows how to approach her closely enou!h3I Music" nature" seein!B the sa eB seen 8vue93 &uch a proFi ity confines you to adness" but the one that snatches you fro the other adness" the adness of sta!nation" of stabiliNation in the inert when sense beco es a subGectiviNed the e" introGected or obGectiviNed" and the subGectile a to b3 =ut you can force the to b3 Mou can unsense the subGectile until ?? unsensed fro birth ?? it !ives way to the innate which was assassinated there one day3 A violent obstetrics !ives passa!e to the words throu!h which" however" it passes3 ;ith all the usic" paintin!" drawin!" it is operatin! with a forceps3 %f course" Artaud was spea/in! of van 0o!h here3 =ut without !ivin! in to a cliche such as Ispea/in! of van 0o!h he is spea/in! of hi self"I and so on" we still have to reco!niNe that Antonin Artaud couldn<t have entered into that relationship" into the real of the relation with van 0o!h" eFcept in giving himself over to the eFperi ent that he is describin! Gust at the o ent when he is refusin! to describe the stability of a paintin!3 And this eFperi ent is the traversal of this jete" its traGectory3 I a callin! spurt or jete the ove ent that" without ever bein! itself at the ori!in" is modali+ed and disperses itself in the traGectories of the objective" the subjective" the projectile' introjection' objection' dejection" and abjection" and so on3 The subGectile re ains between these different jetes" whether it constitutes its underlyin! ele ent" the place and the conteFt of birth" or interposes itself" li/e a canvas" a veil" a paper Isupport"I the hy en between the inside and the outside" the upper and the lower" the over here or the over there" or whether it beco es in its turn the jete" not this ti e li/e the otion of so ethin! thrown but li/e the hard fall of a ass of inert stone in the port" the li it of an Iarrested stor "I a da 3 0ivin! hi self over entirely to this" hurlin! hi self into the eFperience of this throwin! 8jete9" Artaud could enter the real of relationship with van 0o!h3 And all the questions we will listen to fro now on will continue to resoundB what is a port" a porte" a rapport if the subGectile is announced as the support of the drawin! and paintin!L ;hat does the carryin!" the carryin! over 8porter9 ean in this caseL And throwin!" hurlin!" sendin!L Is spurtin! 8la jete9 a ode of sendin! or of !ivin!L Mi!ht it be rather the inverseL Must we chooseL ;hat is itL Is it the sa e thin!L Is itL Is it still possible to sub it that to the question what is itI The way Artaud treats the question of bein! 8/tre9 and of bein!ness 8/tret9 5his word6 * will occasionally be open to doubt3 =ein! be!ins" startin! with the jete" not the inverse3 ;e don<t even have to spea/ of pulsion or co pulsive interest in the direction of the spurt3 The thou!ht of the throwin! is the thou!ht of pulsion itself" of the Get of pulsional force" of co pulsion and eFpulsion3

Corce before for 3 And I shall try to show that it is Antonin Artaud<s thought itself3 =efore any the atics of the spurt" it is at work in the corpus of his writin!s" his paintin!" his drawin!s3 And fro the be!innin!" indissociable fro cruel thou!ht" in other words" a thou!ht of blood3 The first cruelty is a spurt of blood3 In )*@@" I#es %euvres et les ho esI 5;or/s and Men6B I;e have to wash literature off ourselves3 ;e want to be hu ans before anythin! else3 There are no for s or any for 3 There is only the !ushin! forth of life3 #ife li/e a spurt of blood" as Claudel puts it so well" spea/in! of Hi baud3 The ode now is anti?Claudel" and Claudel a on! us is perhaps the only one who in his !ood o ents doesn<t a/e literature3I )> The subGectileB itself between two places3 It has two situations3 As the support of a representation" it<s the subGect which has beco e a gisant" spread out" stretched out" inert" neutral 5ci)gQt63 =ut if it doesn<t fall out li/e this" if it is not abandoned to this downfall or this deGection" it can still be of interest for itself and not for its representation" for what it represents or for the representation it bears3 It is then treated otherwiseB as that which participates in the forceful throwin! or castin!" but also as what has to be traversed" pierced" penetrated in order to have done with the screen" that is" the inert support of representation3 The subGectile" for eFa ple the paper or the canvas" then beco es a e brane: and the trajectory of what is thrown upon it should dyna iNe this s/in by perforatin! it" traversin! it" passin! throu!h to the other sideB Iafter havin! eFploded the wall of the proble "I as he says in I&upp\ts et suppliciationsI 5Ciends and Tortures63 )) I hasten to quote these words and this wor/ so as to insist that we will never hear anythin! about the subGectile without havin! the fiend and the torture resound in it3 And without readin! the pa!es that bear this title3 The subGectile resists3 It has to resist3 &o eti es it resists too uch" so eti es not enou!h3 It ust resist in order to be treated finally as itself and not as the support or the fiend of so ethin! else" the surface or the subservient substratu of a representation3 This latter has to be traversed in the direction of the subGectile3 =ut inversely" the subGectile" a screen or support for representation" ust be traversed by the proGectile3 ;e have to pass beneath the one that is already beneath3 Its inert body ust not resist too uch3 If it does" it has to be mistreated" violently attac/ed3 ;e will co e to blows with it3 The neither3nor of the subGectile 5neither subservient nor do inatin!6 situates the place of a double constraint! this way it beco es unrepresentable3 4either obGect nor subGect" neither screen nor proGectile" the subGectile can become all that" stabiliNin! itself in a certain for or ovin! about in another3 =ut the dra a of its own beco in! always oscillates between the intransitivity of jacere and the transitivity of jacere" in what I will call the conjecture of both3 In the first case" jaceo" I a stretched out" lyin! down" gisant" in y bed" brou!ht down" brou!ht low" without life" I a where I have been thrown3 This is the situation of the subGect or the subGectileB they are thrown beneath3 In the second case" jacio" I throw something" a proGectile" thus" stones" a firebrand" seed 5eGaculated6" or dice ?? or I cast a line3 At the sa e ti e" and because I have thrown so ethin!" I can have lifted it or founded it3 Jacio can also have this senseB I lay down foundations" I institute by throwin! out so ethin!3 The subGectile does not throw anythin!" but it has been laid down" even founded3 A foundation in its turn" it can thus found" sustain a construction" serve as a support3

=etween the two verbs" the intransitivity of being)thrown and the transitivity of throwing" the difference see s fro then on to be as decisive as te porary" that is to say" transitory3 The bein!?thrown or the bein!founded founds in its turn3 And I cannot throw 8jeter9 or proGect 8projeter9 if I have not been thrown yself" at birth3 $verythin! will play itself out fro now on in the critical but precarious difference" unstable and reversible" between these two3 &uch at least would be our wor/in! hypothesis3 =ut what we will surely verify is that" hypothetically" the subGectile always has the function of a hypothesis" it eFasperates and /eeps you in suspense" it a/es you !ive out of breath by always bein! posed beneath3 The hypothesis has the for here of a conGecture" with two contradictory otifs in one3 Thrown throwin!" the subGectile is nothin!" however" nothin! but a solidified interval between above and below" visible and invisible" before and behind" this side and that3 =etween layin! down and throwin!" the subGectile is a fi!ure of the other toward which we should !ive up proGectin! anythin! at all3 The other or a fi!ure of the otherL ;hat does Artaud<s drawin! or paintin! have to do with such a figuration of the otherL ;ill this fi!uration accept li itsL paintin! and drawin! only" in opposition to the discursive teFt" even in the theaterL Mes and no" yes in fact and up to a certain point" whose arbitrary nature covers over precisely a whole history of a dissociation that Artaud wants to traverse li/e a li it or a wall3 =ut not by ri!hts and ri!orously" and this is why I shall propose to !ive another sense to the word pictogram in order to desi!nate this wor/ in which paintin! ?? the color" even if it is blac/ ?? drawin!" and writin! do not tolerate the wall of any division" neither that of different arts nor that of !enres" nor that of supports or substances3 The choice of this word picto!ra ay see odd3 It does not lead bac/ to any supposed pri itivity of so e i ediately representative writin!3 Certainly" throu!h the a!ical force so eti es ascribed to a proto?writin! upon which we proGect all the yths of ori!in" throu!h the efficacity of spells cast or eForcised" the incantatory or conGurin! virtues" alche y" a!netis " such a picto!raphy would have so e affinity with Artaud<s drawin!s" paintin!s" and writin!s3 =ut I shall ta/e it to ean especially the traGectory of what is literally understood to cross the border between paintin! and drawin!" drawin! and verbal writin!" and" still ore !enerally" the arts of space and the others" between space and ti e3 And throu!h the subGectile" the otion of the otif assures the syner!y of the visible and the invisible" in other words theatrical paintin!" literature" poetry" and usic3 ;ithout any totaliNation and ta/in! due account of the subGectilian wall" of this dissociation in the body of which the sin!ularity of the event ade into wor/ will always be ar/ed3 ;e can only spea/ of this whole picto!raphic wor/ by insertion and precipitation" by the acceleration of a rhyth ical proGection and the inscription of a proGectile" beyond what we cal ly call words and i a!es3 ArtaudB IThese are written drawin!s" with sentences inserted in the for s so as to precipitate the 3 I thin/ that here I ay have ana!ed so ethin! special" as in y boo/s or in the theater3I )@ This was at HodeN in )*1A" and we will have to ta/e account of a traGectory" in fact that of the subGectile3

=ut as if we were at the end of this traGectory" and in the past 5II thin/ 3 3 3 I ay have ana!edI6" a sort of destination see s to prevail after the fact3 There is Ihere"I on this side 8de ce cRt9" that is" drawin!" which will be distin!uished on one hand fro literature" fro the theater 5that is" fro sentences63 =ut on the other hand these drawin!s are written drawin!s that cannot Gust be put on one side any lon!er and which ?? here is Iso ethin! specialI ?? contain phrases and" even better" sentences that are not only ta/en in" stuck' inserted" but where the insertion itself precipitates the for s3 Cro then on" the analo!y sweeps away the li its3 ;hat I have ana!ed is certainly special" unique" irreplaceable" ini itable" but sin!ular like what I I ana!edI Iin y boo/s or in the theater3I Just as in the interior of the Iwritten drawin!I the li it has been crossed" the brea/in! down of the barrier in the other IartsI abolishes the border between all these Iarts3I $verythin! is sin!ular each ti e and each ti e analo!icalB a fi!uration of the other3 If in the picto!ra the relationship between the verbal writin!" the phono!ra " the silent line" and color is analo!ous to what it will have been in literature or in the theater according to Artaud" no body" no corpus is entirely separable3 The phrase inserted re ains at once inscribed and quiverin!3 It wor/s the charter" the fra e of a stubborn spatiality that loc/s it in 8cadre3carcan93 The phrase is not softened" it no ore lets itself be do esticated than it asters the ap3 It does not lay down the law" it does not enunciate the charter of a constitution3 =ut its protest accelerates a rhyth " i prints intonations" pulls the for s alon! in a usical or choreo!raphic otion3 ;ithout this obility" the fi!ures would beco e once ore" li/e the Iclear ideasI of the #atin world" Idead and finished3I $ven if we reco!niNe so e of the wor/in!s of words" the inserted phrases rise up li/e enticin! the es" traGectories of sound and writin!" and not only li/e propositions3 %nce they are put forth" they destabiliNe the proposition" that is" a certain historical relation between the subGect" the obGect" and the subGectile3 A relationship of representation3 Cro now on" picto!ra will indicate this destabiliNation ade into wor/3 5ictography is to be taken literally here3 KereB for the reasons I have stated before ?? the i port and the thrownness ?? here eans at once in Artaud and according to Artaud3 )3 Picto!raphy is to be taken literally3 At the o ent when the description of the paintin! !ets carried away" crosses the li it" and renounces all its efforts" Artaud lets !lossolalia in3 #etters transcribe phone es which see to belon! to no InaturalI lan!ua!e: they force the so?called natural lan!ua!e to co e bac/" as if it were losin! its senses" toward a state anterior to its birth" toward the in?born of the proposition" of the propositional and representative sentence" of the copula interposed between the ?ject of the obGect and the ?ject of the subGect3 ;e will be tal/in! about this copulation a!ain3 #etters" then" before the letter" before the letter of words" in an untranslatable lan!ua!e3 A !lossolalia that suspends the representative value of lan!ua!e and interrupts the representative description of a paintin!3 I suppose that all that will be translated rather well in 0er an" eFcept for the phono!ra which is written or drawn here in bold charactersB 3 3 3 in the foreground' that enormous mass of earth which' like a musical introduction' seeks to form itself into a fro+en waveB o vio profe o vio proto o vio loto o tht

4hat is the use of describing a painting by van MoghS Go description attempted by anyone else could be worth the simple alignment of natural objects and hues to which van Mogh gives himself" as great a writer as he was painter' and which gives' in relation to the work described' the impression of the most astounding authenticity3 )D (an 0o!h was a I!reat writerI too3 To de onstrate that" Artaud quotes so e of the painter<s letters in which he describes his own paintin!s" as/in! the question I;hat is drawin!LI 5and not I;hat is paintin!LI6 with words that point out the essential otifs for any scene of the subGectile 5the traversal" usin! the word ItraverseI twice in seven lines" without countin! the word Ithrou!hI and Iwor/in! one<s way throu!hI: the Ibetween"I the force of percussion or of proGection co petin! with the ore oblique wor/ of I inin!I and Ifilin! downIB Artaud will spea/ later of Ifilin! downI the fi!ures in the very stuff of the IsubGectileI: finally the subGectile itself" if we can put it li/e that" nonporous because it is of iron" the Iwall"I the Iinvisible wall of ironI that has to be traversed" on the other side of representation6B 4hat is drawingI 8ow does one do itI *t is the act of working one%s way through an invisible wall of iron which seems to lie between what one feels and what one can do" 8ow is one to get through this wall' for it does no good to use forceI *n my opinion' one must undermine the wall and file one%s way through' slowly and with patience3 )1 This necessity of understanding or hearing the picto!ra is felt everywhere else" for eFa ple in a note on surrealist paintin! in !eneral and in IMes dessins ne sont pas des dessins 3 3 3I 5My Drawin!s Are 4ot Drawin!s 3 3 363 4ot only in the for called !lossolalia where" as always" a crowd of possible words are stewin! under the surface" ready to au! ent or to repress ?? in order to do away with it ?? the so?called natural lan!ua!e3 =ut also in the II hearIB I hear the painters" Ili/e a thread usic" li/e the tetaniNin! thread of an eyelash?flutter" under the ton!ue or in the breasts of y buried seFuality"I II hear the stony ta ?ta of the ruins of Picasso<s bein!s3 3 3 3 I hear Cha!all3 3 3 3 I hear ' I shall always hear3 3 3 3I )A And as always what he hears about others" he eFpects to hear of hi self3 II ean that there is in y drawin!s a /ind of oral usic that I have ade in livin! throu!h y features not Gust with y hand" but with the !asp of the breath of y tracheal artery" and of the teeth of y chewin!3I ), To draw with his outh" this isn<t Gust !ivin! it his voice" his breath" and his lan!ua!e before any words" it is rather attac/in! the support with these solid" incisive or !rindin! instru ents that are the teeth" it is eatin! up" so eti es spittin! out the subGectile" the Ithin!"I if we can say it li/e that" as uch as its !losso atic body or its phono!ra : the word subjectile is thus drawn beyond its assi!ned" nor ative" reasonable sense3 It is i ediately unsensed" incarcerated3 The prophets of old were supposed to spea/ in ton!ues" in their !lossolalia: it was thou!ht to be i ediately accessible to spea/ers of different lan!ua!es" universally understandable before any translation at all" as is naively supposed about paintin! or drawin!3 Cro HodeNB IAnd in )*D1" I wrote a whole boo/ in this sense" in a lan!ua!e that was not Crench but could be read by everyone" of no atter what nationality3I )2

Just a short while a!o" this !lossolalia see ed to fill in for the absence of any description at the very o ent when Artaud was eFplainin! why we have to !ive up describin! the paintin!" describin! in any other way than that of the writer?painter hi self3 In fact" this supple ent devoted to a Ipri ary e otionI will not ta/e second place" li/e so e auFiliary substitute3 &uch an evident subordination co es fro a historical perversion" which !lossolalia opposes in its return to the very place where the wor/ itself sur!es forth" toward Ithe !enerative e otion of the drawin!IB Iand let the onloo/er add this pri ary e otion that nature ade secondary" unless he wants to be no ore than an inco petent nonreader3I )+ Kere true co petence belon!s to the literality of !lossolalia3 =esides" in what is i properly called the Ico entaryI of the drawin! entitled La .aladresse se&uelle de dieu 5The &eFual Aw/wardness of 0od6" to which we will return at so e len!th later" it is not in order to palliate the aw/wardness of the drawin! 5treason and translation of the seFual aw/wardness of !od6 that !losse es are suddenly ta/in! up the space3 They reveal the ori!inal s/ill of the drawin!B ,he tomb of everything that has been waiting while god makes a mess with the instruments he hasn%t known how to use at the e&act level of his stomach ,hemselves awkwardly drawn so that the eye looking at them will be cast down3 yo kutemar tonu tardiktra yo kute drikta anu tedri )* The picto!raph is also listened to li/e usic3 It always resonates in Artaud and according to Artaud3 Cirst of all it is the tone within the lan!ua!e ri!ht fro the outset of the !losse e3 ;e use the ter tone at once for color and for usic" between space and ti e" the visible and the invisible3 Its force sweeps away the support" and the tone of a paintin! has the power of evoking" of su onin! ?? by the voice ?? what we call" literally and fi!uratively" a timbre3 And so the tone of the last canvas painted by van Mogh )) he who' elsewhere' never went beyond painting )) evokes the abrupt and barbarous tonal :uality of the most moving' passionate' and impassioned #li+abethan drama3 @> There is probably nothin! ore constant than this3 Cro his very first teFts" Artaud always calls us bac/ to intonation3 Cro what he said of it" in hundreds of places" and whether it is a atter of literature" theater" or picto!raphy in !eneral" I will only pic/ up on this motif which also ta/es on a value of inGunctionB intonation ust re ain in otion" it ust be the very act that launches the issile" the force necessary to traverse the obGect when it is an obstacle" a receptacle or a subGectile3 The intonation should never beco e fiFed3 The sic/ness lyin! in wait for it has the inert solidity of a substanceB the stubborn and ute resistance of a subGectile" a stabile instead of a obile3 &olidity and hardness always betray intonation" which should on the contrary ove and obiliNe stro/e" !esture" and color" re ovin! the picto!raph fro the worst theater" Ia sort of froNen world" with actors ired down in !estures which will never be of any ore use" with solid intonations han!in! in the air and already collapsin! in pieces" with usic reduced to a /ind of coded enu eration whose si!ns are already be!innin! to disappear" with sorts of lu inous flashes" the selves solidifed and answerin! traces of otions3I @)

Throwin!" throwin! oneselfB in words" as in paintin!" the intonation projects" it dyna iNes a content" the otion eFpellin! it into a space that is nothin! other than the ele ents of this tonal traGectory" the difference between the proGectile and the subGectile" the latter so eti es beco in! the tar!et of the for er3 Artaud says it as early as )*D)" in (La .ise en scFne et la mtaphysi:ue( 5Mise?en?&cUne and Metaphysics6" a lecture at the &orbonne that deals first of all with paintin!B 4ords themselves have their own potential as sound' they have various ways of being projected into space' which are called intonations" And there is a great deal that could be said about the concrete value of intonation in the theater' about this :uality that words have )) apart from their concrete meaning )) of creating their own music according to the way in which they are uttered' which can even go against that meaning )) of creating beneath language an undercurrent of impressions' correspondences' analogies3 3 3 @@ The followin! year" a letter to Andr 0ide prescribes a bodily writin!" a theatrical hiero!lyphicsB ,he movements' the attitudes' the bodies of the characters will be composed or decomposed like hieroglyphs" ,his language will pass from one sense organ to another' establishing analogies and unforeseen associations among series of obGects" series of sounds" series of intonations3 @D The intonation that proGects the words beyond their eanin!" even into a counter eanin!B it is not only in the sounded wor/ that it see s to have its place3 #i/e everythin! that is proGected" it ta/es and in fact opens space" this Ipoetry in spaceI that Ifirst ta/es on all the eans of eFpression that can be used on the sta!e" li/e usic" dance" paint" panto i e" i icry" !esticulation" intonations" architecture" li!htin!" and decor 3 3 3 in our theater which has been livin! under the eFclusive dictatorship of the word" this lan!ua!e of si!ns and i icry" this silent panto i e" these attitudes" these !estures in the air" these obGective intonations" in short everythin! I consider as specifically theatrical in the theater 3 3 3 carelessly called <art3<I
@1

;e will never !rasp the dra a of the subGectile without !raspin! this strate!y of the proGectile3 If picto!raphy is heard both as usic and as if it were usic" it is first of all throu!h a certain force of penetration3 Just as sound penetrates the ear and the ind" Gust so the picto!raphic act stri/es and bo bards" perforates" pierces and forces" di!s in and traverses3 And the adversary a!ainst which this force proGects itself is the subGectile3 Cro then on picto!raphy beco es" li/e this usic" the principal art by which the theater should be ruled3 (La .ise en scFne et la mtaphysi:ue( is e&emplary in this re!ard3 Cor at least three reasons3 #&emplary" in the ost constant way" as to Artaud<s relation to paintin!" to the theater" @A to usic" and thus to Ipoetry in space3I It is the same art" beyond art3 $Fe plary because this art itself" the sa e as beyond art" here finds its paradi! in a picture entitled Lot and 8is $aughters" by #ucas van #eyden 8see p3 )@ above93 #&emplary because of the ission that paintin! sees itself eFplicitly assi!ned hereB it is to !ive the best eFa ple for art" for the whole !roup of arts to which it belon!s" even while it /eeps a place apart" within the 3 =ut as a supple entary paradoF" it

/eeps this place apart and this eFe plary status only insofar as it is an art of hearin!3 I$ven before seein! what is !oin! on" you sense that it is so ethin! of !reat i portance" and you i!ht say that the ear is oved at the sa e ti e as the eye3I @, This Iat the sa e ti eI of the eye and the ear a/es" of pictorial art" an art that spills over the li its of paintin!" Ithat /ind of paintin! which only /nows how to apply paint3I @2 The latter eFpression spea/s of a certain literality of paintin!: here it has a ne!ative value that in other places" as we will see" see s to be reversed3 =ut in truth its eanin! will have chan!ed3 =eyond that secular enclosure of a paintin! that /nows only how to apply paint" picto!raphy" which addresses itself also to the ear" beco es the odel of all art" in particular of the theaterB IIn any case" I sub it that this paintin! is what the theater could be" if the theater /new how to spea/ the lan!ua!e that belon!s to it3I @+ 4ow" in this paintin!" the one that the theater Ishould be"I and that situates the final destination of art" its address" what !uarantees the analo!y between the visible and the audible throu!h the proGectile of an into nationL It is a!ain the breach of a surface or a support" by a Iforce of destructionI co in! fro above" hurtlin! fro the s/y toward the underneath" toward the substratu of the surface or of the support" bo bardin! it" rendin! it apart3 At once a visible Ibo bard entI with Isolar bo bsI and a Iresonant rendin!3I ;e should also pay attention to the livin! bein!s born fro this fire fro the s/y at the o ent when it eFercises its destructive force and dominates the landscape3 Artaud is describin! Lot and 8is $aughtersB -ometimes while we are watching a display of fireworks it happens that' through the nocturnal bo bard ent of shooting stars' solar bo bs" and Roman candles' we suddenly see revealed before our eyes in a hallucinatory light' standing out in relief against the darkness' certain details of the landscape! trees' tower' mountains' houses' whose illumination and whose apparition will always remain associated in our minds with the idea of those ear?splittin! sounds3 ,here is no better way to eFpress this subordination of the various elements of the landscape to the fire manifested in the sky than to say that although they possess their own light' they still remain like so many muted echoes of the fire' like !lowin! points of reference born of the fire and put there to permit it to e&ert its full force of destruction3 @* The end of the sa e teFt re inds us of this power of intonation' rending and destroying the very thin! a!ainst which it hurls itself in order to shake it up and upon which literally it stri/es" li/e li!htnin! or a thunderclap3 The intonation is a detonation to make language eFpress what it does not usually eFpress3 T* am underlining everything that has to do with e&pression' a word to be understood here in a very prudent fashion' for reasons that will be apparent later"U *t is to use it in a new' e&ceptional' and unaccustomed way' to restore its possibilities for physical shock" to divide it and distribute it actively in space" to use intonations in an absolutely concrete manner and to restore their power to tear as well as really to anifest something' to turn a!ainst language and its basely utilitarian )) one might almost say alimentary )) sources' against its origins as a trapped animal' and finally' to consider language as Incantation3 D>

ITo tearI and Ito anifestI at the sa e ti e" to tear or rend in order to anifest" a properly revealing !esture a!ainst the veil3 The rent veil" the truth revealed" the structure of the teFtile bro/en into re inds us also of the canvas" a canvas that Artaud was Gust describin!3 4ot that the incantatory intonation" the nonutilitary lan!ua!e 5nonco unicative" nonrepresentative6 rends asunder the subjectile itself or everythin! that lies beneath itB for eFa ple when the fire of the s/y is bo bardin! a IsubordinateI landscape" that is certainly not to be confused with the subGectile3 The IsubordinationI of the landscape" subGect and obGect of the representation" belon!s to what is represented on the subGectile" underlyin! the representation3 4evertheless" throu!h a etony y that precisely or!aniNes the whole scene of the subGectile" the two surfaces are !oin! to be substituted one for the otherB in the wor/ of Artaud and under his hand3 To attac/ it as we also attac/ a subGect" we will have to deal with the subGectile itself" treatin! and so eti es istreatin! the subGect of the representation under the subGect of representation" violatin! this underneath of the underneath: and because we have Gust been witnesses of such a Ibo bard ent"I this Itearin!I or rendin! apart whose ori!in is a Ifire anifested in the s/y"I fro which it precipitates its Iforce of destruction"I let us not for!et that" so e years later" what is thus described as a painting and even as the description of fire by the painter will effectively be produced in the very stuff of the subGectile itself3 Artaud sets fire to it" a/in! holes in the paper here and there with a li!hted atch3 The traces of burnin! and perforation belon! to a wor/ in which it is i possible to distin!uish between the subGect of the representation and the support of this subGect" in the layers of the aterial" between the upper and the lower" thus between the subGect and its outside" the representation and its other3 It is really a question of a destruction3 And to destroy all these li its that structure representation" other I!esturesI have to be found and the secret of other Iintonations3I These words return at the end of (La .ise en scFne et la mtaphysi:ue'( where Artaud re inds us of everythin! that Iconde ns us" and with us this state of thin!s in which we live" and which must be destroyed" destroyed with care and nastiness" on all levels and in every de!ree wherever it !ets in the way of the free eFercise of thou!ht3I D) =ut if there is a picto!raphy" it is not Gust because" literally" a paintin! is understood or heard3 @3 Paintin! is also ta/en literally3 In two senses3 )3 First parado&3 Paintin! has clearly beco e the paradi! of all the arts" an art plural in itself" if not a total art3 In this sense" as we re e ber" it has to !o past Ithat /ind of paintin! which only /nows how to apply paint3I And yet" in what see s a contradiction" Artaud requires the painter" in his very eFcess" to re ain a painter" to be satisfied with that3 To not use paintin! with anythin! else in view beyond itself" to reco!niNe it for what it is with its own eans and accordin! to its essence" to the eFact eFtent" so to spea/" that this essence is eFcessive3 This essence is an act and an ener!y3 Paintin! should beco e what it is" another way of sayin! that it has to be understood literally" in the very ener!y of its spillin! over3 Its truth is eFcessive" li/e all truth3 It is not so uch a contradiction as a tension vibratin!" for eFa ple" in ;an Mogh le suicid de la socit" 6n one hand' in fact' this painter knew how to be a painter (and nothing but a painter"( Leitmotif" (And so the tone of the last canvas painted by van Mogh )) the one who' elsewhere' never went beyond painting" " " "( @C ,hat means' among other things' that he e&plained himself with his own means and the correct (material( for painting (the subjectile is one of those6B ICor van 0o!h will prove to have been the ost !enuine painter of all painters" the only one who did not try to !o

beyond paintin! as the strict eans3I DD

eans of his wor/ and the strict fra ewor/ of his

6nly a painter' van Mogh' and nothing more' 3 no philosophy' no mysticism' no ritual' no psychurgy or liturgy' 3 no history' no literature or poetry' 3 these sunflowers of bron+ed gold are painted< they are painted as sunflowers and nothing more' but in order to understand a sunflower in nature' one must now go back to van Mogh3 D1 This last sentence 5an entire conception of the ori!in of the wor/ of art as truth" once a!ain Keide!!er is not far off6 lets us understand that" on the other hand" paintin! does !o beyond itself" beyond the painter and his eans" crossin! to the other side" to the other part of the partition" accordin! to the very essence of its truth" the truth of truth" and the truth of nature3 Cor van 0o!h will also have been the only one' moreover' absolutely the only one' who absolutely transcended painting' the inert act of representing nature' in order to make a whirlin! force" an element torn right out of the heart' gush forth in this e&clusive representation of nature3 7nder the !uise of representation he welded an air and enclosed within it a nerve' things which do not e&ist in nature' which are of a nature and an air more real than the air and nerve of real nature3 DA This eFcess" the passa!e to the other side" beyond paintin! that /nows only how to paint" under and beyond the IeFclusive representation"I and so on" Gust in the very o ent where there is nothin! but paintin! as paintin!" re ains a dise bowelin! of a surface" the ato ic bo bard ent and usic: and the ato s are literally ato s" that is to say" as with the 0ree/ ato ists" fi!ures and lettersB * see' in the instant * am writing these lines' the blood)red face of the painter coming toward me' in a wall of eviscerated sunflowers' in a formidable conflagration of cinders of opa:ue hyacinth and of fields of lapis la+uli3 All this amid a seemingly meteoric bombardment of atoms which would appear a particle at a time' proof that van Mogh conceived his canvases as a painter' of course' and only as a painter' but one who would be for that very reason a formidable musician3 6rganist of an arrested tempest3 3 3 D, Force of the bombB inseparable" these words and otifs are insistent3 Mou i!ht thin/ they were definin! style itself for Artaud3 Cor eFa pleB Ithe style started off" it went alon! its way rapidly" and then lo and behold it was suddenly flattened" the sentence was no lon!er this bo b burst" so ethin! in the current was cut off3I D2 And as for this opposition of force and for that I was Gust e phasiNin!B ,he genius of a drawing is not in its art' but in the action of forces that presided over the calculation of forms and signs that the drawn lines leave behind' form'

empty out' miss' and that it takes more than just genius to recogni+e" * am shooting right here on all the spell)casters that * see with my breath and from the bars of bodies in my spell)bound body' for the spell)casters never admit the signs3 3 3 D+ &o the force is not the for " it will never beco e for : even if" as soon as it is born" for tends to steal force" eFpropriatin! it" seducin! and captivatin! it3I Mou can burn the supports of paper" the papyrus" the parch ents" the libraries of the subGectile: you will never destroy the forceB I#et the library at AleFandria burn3 Above and outside of the papyrus" there are forcesB if we are deprived for so e ti e of the faculty of findin! these forces a!ain" their ener!y will not be suppressed3 And it is !ood that the too !rand facilities disappear" and that forms fall into for!etfulness 3 3 3 the intensity of forms is only there to seduce and captivate a force which" in usic" inspires a heart? rendin! ran!e of notes3I D* Much later" in )*1AB I4ot the colors but the elody that they are callin! fro one to the other" ' not the forms but the i probable body they are see/in! across the infinite of an arbitrary space3 3 3 3 This drawin! is then the search for a body" a body to hand3I 5#i/e the body" this drawin! Icould never be identified until now3I It was Ico ented onI in IDpendre corps ?? l<a our uniqueI 8Kan!ed =ody ?? 7nique #ove936 1> I a first of all this forceB captured" eFpropriated" stolen" persecuted" turned away" in search of its body" of a body artyred in the na e of !od3 ;e have to ta/e the body bac/ fro so ethin! that still rese bles a subGectile" with a face li/e a subGectile" Ithe unfatho able abyss of the face" of the inaccessible surface level3I I a e phasiNin! several words in one of the nu erous teFts of I&upp\ts et suppliciationsI that have to be quoted in entiretyB ,hus it is on the presumption of being god that * have been somewhat martyred everywhere< " " " it%s like being convinced of being god and in order to prevent myself from remembering that * have been everywhere assassinated' poisoned' beaten to death' electrocuted< " " " and no matter how pretentious it might be' that is it< " " " for god in his true name is named Artaud' and it%s the name of this kind of unnamable thing between the abyss and nothingness' 3 which has something of the abyss and nothingness' 3 and that is neither called nor named< 3 and it appears that it is a body too' 3 and that Artaud is a body too' 3 not the idea' but the fact of the body' 3 and the fact that what is nothingness should be the body' 3 the unfathomable abyss of the face' of the inaccessible surface level through which the body of the abyss is revealed' " " " the abyss) body< 3 the ,ibetans' the .ongols' the Afghans listening to god say they have heard the syllables of this sound rising from the abyssB AR),AJ in which they have always wanted to see the designation of a dark force but never that of an individual" 3 1ut * am this individual3 I a " yself" this dar/ force3 1) The persecution of this force be!an the o ent I was bornB IAnd it is as such a bearer of the na eless abyss that fro this side of the ti e of the world I have been since the fourth of &epte ber )+*, in Marseilles 8his birth place and date9 pursued by innu erable hordes of initiates3I 1@ Deflection of force" theft" or substitution of the

newly born" i posture" and insinuation of the instru ent3 I have been robbed" not of this or that" but yself robbed of yself" in the very stuff of yselfB And as I was crucified two thousand years a!o on 0ol!otha" in the sa e way I was poisoned durin! y eFistence by the fa ily with who I lived and which clai ed" lyin!" to have !iven birth to e3 Ma!ic spells and nothin! else have ade of e this sic/ an 3 3 3 in the neuropatholo!ical quest for hi self3 1D It would certainly be disin!enuous to close our eyes" either because of so e literary feelin! or so e absent inded politeness" to what Artaud hi self describes as a neuropatholo!ical persecution3 Moreover" that /ind of disin!enuousness would be insultin!3 The an is sic/3 =ut precisely" how uch ore naive would it be not to ac/nowled!e this truthB Artaud is tellin! the truth3 Throu!h all the passion or the patholo!y to which his sufferin! sub its hi " his truth eFhibits" in his name" the truth of the truth" that is to say that every IselfI in its own self is called to this fa ilial eFpropriation of the newly born" constituted" properly instructed by that eFpropriation" that i posture" that forfeit" at the o ent when" very si ply" a fa ily declares a child born and !ives it its na e" in other words" ta/es it fro hi 3 This eFpropriatin! appropriation" this le!iti ation can only be a violence of fiction" it can never be natural or true by its structure3 4ith everything it entails" it inau!urates the persecution" in the na e of the self" in my name" whatever it is" whoever I a 3 ;hat Artaud describes is true a priori" ori!inally" transcendently" let<s say rather Ifro birth3I =ut this truth is a truth of nontruth3 &o it is not transcendental but always sin!ular" lin/ed to the body of the event and to the event of the body3 The body is Gust that3 This nontruth presides over the birth of everythin! that will be le!iti ated in lan!ua!e" that is to say in society" under the na es of the na e" of bein!" of truth" of e" of !od" and so on3 ;hoever sub its" sees hi self sub itted" without thinking them in his body" to these for s and these nor s" is well?for ed thereby" that is to say" nor edB nor al3 Ke has chan!ed a force for a for 3 As such a Inor alI subGect is sub itted to the abnor al nor of this law" the pathological passivity of his subGected body rese bles that of the subGectile3 This is ore than an analo!y" as we will see3 The subGectile" a product of this congenital eFpropriation" is ori!inally cast into unsensedness3 7nsensedness doesn<t Gust happen to hi 3 Ke is driven ad in advance3 To drive hi ad" fro then on" isn<t a atter of renderin! hi insane but renderin! hi to his adnessB unsensed fro birth3 ;hat happens between this !eneral structure 5untrue truth of truth" nothin! of bein!" e without the self of yself" and so on6 and the IcaseI of Artaud cannot" for reasons of the proper na e" correspond to the si ple lo!ic of inclusion3 ;e aren<t dealin! with a particular eFa ple in a class3 The risin! forth" at birth" of a proper na e and a self defies such a lo!ic3 I4o atter how pretentious it i!ht be"I I!od in his true na e is na ed 3 3 3I Gust li/e e3 It<s e3 0od in his na e bears y na e and not another3 And this has to be true for e to be able to thin/ it3 Cor this na e of !od to be ine" birth had to be thou!ht of at birth3 Myself" in si ply" a fa ily declares a child born and !ives it its na e" in other words" ta/es it fro hi 3 This eFpropriatin! appropriation" this le!iti ation can only be a violence of fiction" it can never be natural or true by its structure3 4ith everything it entails" it inau!urates the persecution" in the na e of the self" in my name" whatever it is" whoever I a 3 ;hat Artaud describes is true a priori" ori!inally" transcendently" let<s say rather Ifro birth3I =ut this truth is a truth of nontruth3 &o it is not transcendental but always

sin!ular" lin/ed to the body of the event and to the event of the body3 The body is Gust that3 This nontruth presides over the birth of everythin! that will be le!iti ated in lan!ua!e" that is to say in society" under the na es of the na e" of bein!" of truth" of e" of !od" and so on3 ;hoever sub its" sees hi self sub itted" without thinking them in his body" to these for s and these nor s" is well?for ed thereby" that is to say" nor edB nor al3 Ke has chan!ed a force for a for 3 As such a Inor alI subGect is sub itted to the abnor al nor of this law" the pathological passivity of his subGected body rese bles that of the subGectile3 This is ore than an analo!y" as we will see3 The subGectile" a product of this congenital eFpropriation" is ori!inally cast into unsensedness3 7nsensedness doesn<t Gust happen to hi 3 Ke is driven ad in advance3 To drive hi ad" fro then on" isn<t a atter of renderin! hi insane but renderin! hi to his adnessB unsensed fro birth3 ;hat happens between this !eneral structure 5untrue truth of truth" nothin! of bein!" e without the self of yself" and so on6 and the IcaseI of Artaud cannot" for reasons of the proper na e" correspond to the si ple lo!ic of inclusion3 ;e aren<t dealin! with a particular eFa ple in a class3 The risin! forth" at birth" of a proper na e and a self defies such a lo!ic3 I4o atter how pretentious it i!ht be"I I!od in his true na e is na ed 3 3 3I Gust li/e e3 It<s e3 0od in his na e bears y na e and not another3 And this has to be true for e to be able to thin/ it3 Cor this na e of !od to be ine" birth had to be thou!ht of at birth3 Myself" in of relyin! on the heavily policed discourse of truth or of ri!ht3 This violent and superbly ironic !esture lays bare the !enesis of truth" of the proper na e" of ri!hts" of theolo!y" and so on3 The apparent sophistication of such a perfor ative ruse is eFactly what puts lan!ua!e Ito disco fort and to wor/I in the drawin!s3 It eFploits the resources of the idio that it forces" lettin! it spea/ all alone3 ;hence the burst of sudden lau!hter3 ;e should be able to hear it even throu!h the la entations of a tortured bein!3 The alternative wavers not only between representation and its other" a representative paintin! and its beyond" but between the inert and what !ushes forth" the bein!?dead of the supine fi!ure and the spurtin! force" of the proGectile or the eGaculation" Ito a/e a whirlin! force !ush forth3I This !ush 5breath" fire" air" sound" intonation" thunder" detonation" bo bard ent" eFplosive burst6 does not co e fro an ori!inatin! bein!" rather it !ives bein! to bein!" !ives birth" so that bein! is born fro it rather than lettin! itself be deter ined or represented by it3 It is born in the spurt" the sendin! up" the launchin!" the issile or" literally" the issive3 As a consequence of this apparent contradiction and of this vibratory tensionB the otif 5the otet or the last word of paintin! accordin! to Artaud6 beco es what e&ceeds the e&cessiveB 5ainter' nothing but a painter' van Mogh adopted the techni:ues of pure painting and never went beyond them3 * mean that in order to paint he never went beyond the means that painting offered him3 A stormy sky' a chalk)white field' canvases' brushes' his red hair' tubes' his yellow hand' his easel3 3 3 11

All the hetero!eneous cate!ories of I eansI are deliberately associated in the sa e series" and they are eans of Ipure paintin!IB the thin! to represent" the s/y and the plain Gust as uch as the body of the artist and the aterial" that is" the place fro which paintin! spurts forth 5the tubes6 but also these two supports or receptacles of the spurt proGected forth" the IcanvasesI and this support of the support which is an easel3 As for the color ready to spurt forth" e&pressed" fro the tube" it !uarantees in writin! a etony ic passa!e between the red of the hair and the hairs of the brush" between the brushes and the yellow of Ihis hand"I between the body proper and the instru ent of the artist3 =y si ple conti!uityB Icanvases" brushes" his red hair" tubes" his yellow hand" his easel3I As for the two thin!s to represent" their choice reproduces the scene we have already reco!niNedB the top and the botto " the top fro which the !round is bo barded and the substratu " the support" the subGectile at once flat and assive" in this case the plain 5IA stor y s/y" ' a chal/white field" ' canvases 3 3 3I63 A conti!uity a!ain effacin! the li it between the Iplain"I as obGect or subGect of the representation" and the Icanvases"I the subGectile3 The otif" we were sayin!" the eFcessive eFceeded3 %n the sa e pa!eB 6ne day for no reason he decided not to go beyond the subject' but after one has seen van Mogh' one can no longer believe that there is anything more impossible than to go beyond the subject3 ,he simple subject of a lighted candle on a straw)bottomed chair with a violet frame says more in the hands of van Mogh than all the Mreek tragedies" " " " *t is literally true that * saw the face of van Mogh' red with blood in the e&plosion of his landscapes' coming toward me' kohan taver tensur purtan in a conflagration' in a bombardment' in an e&plosion' avengers of that millstone which poor mad van Mogh wore around his neck all his life3 The illstone of paintin! 3 3 3 1A illstone" we will find it later" in

The bo bard ent a!ain" the proGectile3 As for the the subGectile itself3

The eFcessive eFceeded" the passa!e toward the other side in the very o ent when the thin! is presented Ito us" in front of the fiFed canvas"I this is not a dialectical contradiction" it is the a aNin! thin!" the arvelous force of the Iborn paintersI who /now so ethin! about Iprenatal sufferin!IB ;an Mogh renounced storytelling in his painting' but the ama+ing thing is that this painter who is only a painter' and who is more of a painter than other painters' since he is the one for whom the material' painting itself' is of primary importance' with the color caught just as it is when s:uee+ed out of the tube' with the impress of the separate hairs of the brush in the paint " " " the ama+ing thing is that this painter who is nothing but a painter is also' of all born

painters' the one most likely to make us forget that we are in the presence of painting' painting intended to represent the subject he has selected' and who presents to us in front of the fi&ed canvas the enigma pure' the pure enigma of the tortured flower" " " " 4hy do the paintings of van Mogh give me this impression of being seen as if from the other side of the grave3 3 3 1, #et<s stop tellin! stories3 ;e will de onstrate that a subGectile has no story" no history3 +, Another #aradox, If paintin! is understood literally" it forces the subGectile with letters3 #et us reread" for eFa ple" the pa!e that I Gust interrupted in the iddle3 In van 0o!h" paintin! has a Iplace of pri ary i portanceI with Icolor"I with the Ii pressI of the hairs of the brush" with the Itouch of the paint itself"I and so on" but also Iwith the i" the co a" the tip of the point of the brush itself twisted ri!ht into the paint" applied rou!hly" and splashin! in spar/s3I A for ation of the letter in a drawin! that ta/es it away fro the word" fro the verbality of articulated lan!ua!e whose pure sonority nevertheless spurts forth in the subGectile3 At the eFtre e" this literaliNation tends to annul the support in the very dance3 The latter would beco e the picto? choreo!raphy of a !ra ar without a subGect or obGect" in other words" without a subGectile3 The body itself" finally itself" assu es literally its letteral fate3 All the altercations with the subGectile tend toward that li it3 Cor choreo!raphic !ra ar to take place" as with the Tarahu aras" the body ust reappropriate itself" ta/e itself bac/ fro !od who eFpropriated it durin! a real assassination that was also an abortion3 The body ust literally be reborn 5Ithis drawin! is then the search of a body"I in IDpendre corps ?? l<a our uniqueI63 12 &uch a birth is the unique event3 It ta/es place once3 A!ainst the theolo!ical eFpropriation" the one that will have !iven way to the subGectile" to the or!anic" underlyin!" supine" dead" aterial bodysubGect3 Cor the second paradoF resides in thisB we have to find a!ain" in picto!raphy" a certain literality of the atter that does not !o beyond paintin! in its aterial" but we have also" a double constraint" a double conGecture" to i aterialiNe this atter" eFactly the one that a/es a to b of the subGectile3 Matter that has beco e volatile will !ive birth to this drawin! of a literal and nu bered choreo!raphyB For Ci!uri" they say' was MA4" MA4 such as FR6. 8*.-#LF' 8*.-#LF in space" 8# constructed 8*.-#LF when Mod assassinated him3 ,hat is e&actly what happened" " " " For * thought * saw in this $ance the point when the universal unconsciousness is sick " " " upon certain hasty blows struck by the 5riest who was now holding his cane with both hands they came forward rhythmically one toward the other' with their elbows spread out and their joined hands making two triangles coming to life" And at the same time their feet were drawing on the ground circles' and something like the parts of a letter' an -' a J' a B' a ;" Gumbers in which the form H came back most often3 1+ Just one eFa ple a on! so anyB this choreo!raphy oves to a sort of reappropriation of the subGectile3 The =ody proper beco es the livin! subGectile" drawin! and writin!3 It is the letter in otion3 I#etter without letter" ' word without

word3I 1* It no lon!er has to support the letter" no lon!er suffers it3 ;hat has disappeared in the dance is the other subGectile" the inert receptacle" the eFteriority of dead atter" the epi!raph" that technical and parer!onal supple ent forei!n to the wor/3 &uch was the choreo!raphic otif3 There is also the chromographic otifB colors and letters travel fro one to the other3 Durin! this traverse" the resonance of a word !uarantees the etony ic transition3 #et<s ta/e for eFa ple the bellowin! of red" the intense ru blin!" the sy bolic vehe ence of a color3 ;e have seen the artist<s hair and the hairs of his brush reddening with a sin!le fire" li/e the burnin! of a sin!le body3 It was van 0o!h" it happened wordlessly in a way" and it was a atter of the body3 Kere is the incubation of the red spirit" the red soul" it spea/s and it IbellowsIB ,he painting of .arVa *+:uierdo proves that the red spirit is not dead! that its sap is boiling with an intensity e&acerbated by the long travail of waiting' of incubation' of maceration3 ,he red soul is concrete' and it speaks" 4e can even say without e&aggeration that it bellows3 A> A!ain a propos of MarTa INquierdo" Artaud spea/s of Ithe ystery born of color3I This unites with the IvibrationI of the solar spectru " it Iis torn apart even unto the usic where it came from3I A) The correspondence of red and blue a/es this anifest" as if in an e&orcism which we have to reco!niNe in such a paintin!3 Another stratu of the hiero!lyph represents the word so ehow Ifolded in"I as Artaud says of his own drawin!s" within a !raphic wholeB I;e /now the hiero!lyphic procedure of the Indians which consists in placin! before the outh of an orator or a sin!er the i a!inary si!n of the voice" of the word3I The eFa ple he chooses is that of another paintin! of MarTa INquierdo that uses the s o/e of a nearby factory" this $uropean si!n" to represent by these Ispiral wreathsI the Irespiration" the ani ated breathI of a sin!er3 =ut Artaud Iinfinitely prefers the canvases where no trace of the $uropean spirit is found3I A@ 4o atter how we understand it" this literaliNation rese bles a strata!e " rather a counterstrata!e 3 In a testin! of stren!th" it frustrates the authority" the independence" and the eFteriority of the subGectile" really its treason as to the truth3 If once Iwhat is called the subGectile betrayed e"I it is because it can always betray the truth' either by revealin! it" or by hidin! it3 This traitor represents deathB the supine body" of course" the inertia of a aterial support supposed to represent the dead person but also the cadaver or the specter of a bein! assassinated" now !ifted with an evil power" which every resent ent ani ates3 This is a forei!n subGect" a reactive obGect" inassi ilable and poisoned3 $verythin! still to be said or done a!ainst the subGect and a!ainst the obGect first ai s to conGure up the spirit cryin! ven!eance and which lets itself be represented" in all the senses of the ter " by a subGectile3 A curse" a representation of ven!eance and a ven!eance of representation3 Kow should we thin/ of this representationL And first of all" representation in !eneral for ArtaudL

%ne of the pri ary conduits leads throu!h the word or the cate!ory of e&pression3 The place of a sin!ular aneuver3 In an unsettlin! arran!e ent" Artaud see s always to have !iven it credit" perhaps disconcertin! for us now3 The eFpression" let<s say" the representation of the inside in an outside" isn<t this the ost conventional and idealiNed concept of all" absolutely threadbareL =ut watch what this word beco es in Artaud<s handlin!" possibly eFpressin! so ethin! else3 Cor in his eyes" ri!ht up until the last teFts" eFpression re ains the truth of the picto!raphy" Iin the last analysisI its Iprofound truthIB IIt<s perfectly clear" in the last analysis" it<s the eFpression that is valuable in a paintin!3 =y eFpression I don<t ean a loo/ of lau!hter or tears" rather the profound truth of art3 The equivalent of a new reality" ta/in! certain lines" a certain brushstro/e3I AD That was in )*@)" under the title (L%#&pression au& *ndpendants( 5$Fpression at the Independent $Fhibition63 In )*@1" Artaud says he is disappointed by Picasso who Idefines hi self uch ore than he eFpresses hi self3I A1 In )*@*" Ia certain unevenness of eFpressionI in Ia certain paintin!I see s to betray Ia sic/ness of thou!ht3I AA =ut already eFpression no lon!er eant a relation of the subGect to the obGect3 The word desi!nated the production of a Inew reality"I its violent co in! to be" its e&pulsion at birth" by the act of birth3 A birth e&presses certainty by brin!in! to the dayli!ht and outside what has been carried to ter and inside" but at the sa e ti e the reality that it eFpels" the wor/" the eFcre ent" the child" has" so to spea/" no past3 It is in?born before birth3 The operation of this puttin! in the world" the eFpression" always brea/s into a subGectile" the body of birthin! and touchin! for this new body" Iaccordin! to a certain rubbin! of the brush3I If such an e&pression constitutes the Iideal of the artist"I this ideal no lon!er resides in the representative space of a relation between the subGect and the obGect3 It forces atter" and thus the subGectile" beyond this oppositionB IIt<s also eFpression that confers on the sche es of CouGita a rarefied" al ost spiritual air3 3 3 3 The subGect is not of i portance" nor the obGect3 ;hat atters is the eFpression" not the eFpression of the obGect" but of a certain ideal of the artist3I A, This eFpression centers the whole I#<Auto ate personnelI 5The Personal Auto aton6 which itself concentrates in a few pa!es" A2 a pretended description of a paintin!" everythin! we are tryin! to analyNe here" and I a not Gust thin/in! about the IseF taut and blown up li/e an obGect"I or about the launchin! of the issile 5Itoward those or!ans whose seFuality is increased" which eternal seFuality is catchin! up with" is directed a volley of arrows shot fro below the canvasI6" A+ about the traversal of the subGectilian division" canvas" veil" paper" wall" and so on" to see the tearin! itself 5IIf we could pass behind the wall" what a tearin! apart we would see3 3 3 3 The hi!h?rise wall of eFperience does not a/e e swerve fro y essential delectationI6" or of the rendin! force of the fire" of a fire fro the heavens 5Ithe irritatin! force of a fire lacerates the interior fir a ent" the rippin! open of intelli!enceI63 The Ipurest eFpressionI is precisely the anifestation of these forces3 7nsensed fro birth" forcin! birth to birth" eFpression does not describe the ove ent by which what was already inside lets itself be translated" transported" transposed outside" represented or eFhibited upon the canvas" a sort of screen upon which i a!es would proGect the eselves3 The screen ust be traversed by an eFpression that attac/s the subGectile" hurls its proGectiles a!ainst it" bo bardin! it until it bleeds" sets it on fire" and perforates it3 Cruelty is always unleashed upon a subjectile3 And upon all the history that piles up in its thic/ness without thic/ness" introGectin! and interGectin! itself between the two epider al surfaces of a e brane worth nothin! in itself eFcept as it is interposed3 And this intercessor so eti es

betrays3 It shows itself the stron!er3 Its indecisive otherness provo/es aw/wardness3 ;e no lon!er /now who we are dealin! with and to who we are spea/in!3 4ow we should try to understand Artaud when he at once alle!es and denies his so? called aw/wardness" a certain technical clu siness in his drawin!3 ;e wouldn<t !rasp anythin! if we didn<t start fro the e&periment of the subGectileB the latter" as we /now" betrays3 4ow an aw/wardness always signifies so ethin!: and it si!nifies this betrayal rather than a technical wea/ness3 It<s a sort of lapsus" a failin! at the o ent when the device of the subGectile" a sort of trap" constrains the drawin! hand3 Artaud<s technical for ation was incontestable" it brea/s throu!h in all his wor/" even includin! certain HodeN drawin!s3 The aw/wardness" that lac/ of address Artaud tal/s endlessly about" has eanin! only in the altercation with the subGectile and the forces it !athers in itself" that it supposes ?so !oes the wor/in! hypothesis ?? under the surface between the surfaces of the subGect or the obGect" offerin! a stubborn and clever resistance to the hand3 It detours the hand toward the wron! destination" sendin! it literally to the wron! address" if I can put it li/e that3 The aw/wardness then co es fro another source" and is sub itted to3 Artaud eans to reappropriate this hand and this body a!ainst what he calls Ithe drawin! principle"I that is" a!ainst the strict or!aniNation of that /ind of /now?how which re!ulates itself by forei!n forces and co pro ises with the 3 This co pro ise is the syste of the beauFarts" its technique" its nor s and depart ents" its devices3 The subGectile is one of the " but at the sa e ti e it represents and adGusts the to each other within the fra ewor/ of the canvas3 The astery of the person drawin! subGected to the Iprinciple of drawin!I testifies to the history of a dispossession and a deflection3 The address is a lac/ of address or an aw/wardness" and the counter?aw/wardness of Artaud is really a/in! two !estures at the sa e ti eB it spea/s of the wron!doin! and tends to correct it" falls into a lapsus" pays the price of treason and a/es up for the wron!" tries to scratch out the dispossession3 A !ood aw/wardness would then consist of unlearnin! the Idrawin! principle"I riddin! oneself of a nature too tractable with respect to nor s only in eFistence because of a default3 This is a whole other e ory and another /nowled!e" another school entirelyB ,his drawing' like all my others' is not that of a man who doesn%t know how to draw' but of a man who has abandoned the principle of drawing and who wants to draw at his age' my age' as if he had never learned anything by principle' law' or art' but only by the e&perience of work' and * should say not instantaneous but instant' * mean immediately deserved3 $eserved in relation to all the forces that in time and space are opposed to the manual work of creation' and not only manual but nervous and physical3 ,hat is' against the taking mental possession of the soul' and its restoration in the being of reality3 A* If he IabandonedI the Iprinciple of drawin!I li/e that" then he ust once have had it at his disposition3 And as the drawin! principle supposes the Ita/in! possession"I the subGection to alevolent forces" the only way to dispose of the drawin! principle is to put oneself passively at its disposition ?? and this is the nor al cleverness of the drafts an3 Cleverness lets itself be had3 &o Artaud abandons the drawin! principle because he has first IdespairedI of it3 And the Iwron!doin!I he then conde ns would

not Gust pervert a anual s/ill" an ability to draw lines3 It would have ta pered with our body" our eyes" and the li its of our vision" the Iprinciple of our cranial boFI 5which co ands the Iprinciple of drawin!I6" our or!anic constitution in its !eneral architecture3 Kowever stran!e and localiNed it see s" the appearance of the word forceps in IMes dessins ne sont pas des dessins 3 3 3I illu inates" ri!ht in the trac/ of those etony s that stren!then this writin!" the allusion to an obstetrical violence3 If our vision has been Ideformed" repressed" oppressed" set bac/" and suffocated by a certain wron!doin!"I so e cri e ust have ta/en place very close to the birth3 An evil force ust have set upon the newbornB .y drawings are not drawings but documents' they have to be seen and what is in them has to be understood' if they were being judged just from the artistic or lifelike point of view' as an object speaking and successful' you would say! that is very bold' but it lacks manual skill and technical formation and .r" Artaud as a draftsman is still just a beginner' it will take him ten years of personal apprenticeship or in the polytechnics of the beau&)arts3 4hich is false because * worked ten years on drawing during my entire e&istence but * despaired of pure drawing" " " " 4e have a mote in our eye from the fact that our present ocular vision is defor ed" repressed oppressed' set back' and suffocated by a certain wrongdoing on the principle of our cranial bo&' as on the dental architecture of our being' from the coccy& at the base of the vertebrae to the place of the forceps sustaining the brain3 -truggling against this wrongdoing' * have pointed up and polished all the angers of my struggle' in the light of a certain number of totems of beings' and there remain these miseries' my drawings3 ,> 4o technical lac/" then" in the failure of pure drawin!" only a handto?hand fi!ht where a sort of abortion at once repeats and counterfeits itself" in self?i itation by si ulacru " controllin! itself and contradictin! itself throu!h a /ind of for al ar!u ent toward another birth" that of an eFpression3 Cor eFa pleB ,he drawings * want to speak of are full of larval forms' in the very stubbing of the pencil stroke against the paper' and * wanted them to agree between themselves so that with the colors' the shadows' and all their reinforcements' the whole would be valid and singular3 ,) The subGectile" place of treason" always rese bles a device of abortion" it !ives rise to a deflection first defor in! by precipitation and causin! a headfirst fall 5Istubbin!I63 A pre ature fall" lapsus" prolapsus" eFpression" eFcre ent" a newborn supplanted" defor ed and detoured" ad fro birth fro then on" ade with the desire to be reborn" and that you can read in the lines" not in the color3 Treason affects the drawin! principle3 Color see s intact and innocent3 &o the question of Artaud is not a question of technique3 %r rather yes" it<s a question of technique insofar as it does not belon! fro birth 5better say birth here than ori!in6 to the order of technique ?? nor even" consequently" of art3 =ut this question" Artaud

doesn<t as/ it" he eFperiences it ?? traverse" violence" torture" tor ent" passion" a!ony ?? at the o ent when such a putting to the :uestion a ounts to a cri e3 And this question isn<t that of technique or of art unless you !o bac/ further" toward the untellable history that was able to !ive way to what we call the art of drawin!" the technical savoir?faire ?? let<s say in this case adroitness TaddresseU" a word in which we will also hear the sound of destination3 4o ore than adroitness" aladroitness or aw/wardness 8maladresse9 is not restricted to the sphere of a technical evaluation3 =esides" very early" fro )*@)" Artaud only praises a paintin! if its IcharacterI puts it Iabove any technical question3I ,@ And uch later" aladroitness" at least such as Artaud pretends to vindicate" beco es" a!ainst the Iprinciple of drawin!"I a /ind of bac/ward s/ill" the apostrophe that /nows s/illfully how to address itself" turnin! away fro the supposed receiver to the one it wants to insult" conde n" reGect" send awayB &hit` you are shit and you only deserve shit" in a word deGection" that I hurl in your face" that I throw toward you li/e a proGectile" li/e so e obGection as short as an interGection" ,D scarcely a word3 This proGectile is y drawin!B aladroit but adroit" ta/in! !ood ai " correctly adGusted to the !ood address of its true destinationB 3 3 3 you will reali+e from my maladroit drawings' but so crafty' and so adroit' that say -8*, to this world3 4hat are theyI 4hat do they meanI ,he innate totem of man3 ,he amulet to come back to man All the breaths in the du!out curvature hollow pesti?ferous of y real teeth3 Got one that isn%t a breath cast out with all the strength3 3 3 ,1 The aw/wardness is destinedB to do violence to all the fiends3 %nce the subGectile has beco e the solid shelter of all the fiends and /inds of succubus that haunt it" aw/wardness ta/es up ar s a!ainst it3 Man ust be ripped away fro these alevolent powers he re ains subGect to" he has to Ico e bac/ to anI and ust a/e a special spell for that3 $ven Ion the pa!e3I The aladroitness used to cast a spell 5Ithe a ulet to co e bac/ to anI6 /nows perfectly well where to co e and to who to co e bac/" it plays its address" its adroit aladroitness a!ainst the opposin! aladroitness3 The na e of the adversary is !od3 IAw/wardnessI could be read as a synony or a pseudony " one of the na es of !od3 Many na es in one3 Cirst of all" of course" the ineFperience and the aw/wardness of the one who does badly what he does3 Ke won<t have succeeded in his wor/" all that is to take up again" to ta/e bac/

fro hi " for" secondly" the aladroitness of !od not only i pels hi to do the bad" it i pels hi to isdoin! or to wron!doin!B there he !ets alon! and his address is the address of the bad: then" as his wron!doin! consists in a detour fro the proper destination" the address of the bad is understood in the na e of aw/wardness 8maladresse93 =ut that isn<t all" nor is it perhaps the essential thin!" for all these cases of aladroitness reveal the ale3 As a ale" !od doesn<t !et it up ri!ht" he doesn<t stiffen correctly" his erection is faulty" it is at fault" it screws around with itself3 La .aladresse se&uelle de dieu' =?DK' e&plains in short the awkwardness of the drawing' it is the cause of it' it prints it or is printed in the subjectile itself' on the page" ,he black pencil goes to pains to bear witness to this maladroitness in fi&ing it up" *t is at the same time a correction inflicted on god to make him fall" Co)erection and detumescence" Go more than its title' the (commentary( doesn%t let itself be separated from the work" *t speaks of the couple' in a sense of the two maladroitnesses' that of god and that of the drawing! ,his drawing is willingly thrown together' thrown on the page as if it despised any forms or strokes' so as to scorn the idea taken up' arranging to let it drop" ,he maladroit idea of god purposely standing not straight up on the page but with a distribution and flashes of colors and forms enlivening this awkwardness' witness the head high like an egg scarcely sketched and beards radiant with hair that could have been just a hasty sketch in a drawing much more polished' but whose hasty trace * wanted to keep at the summit of this red puppet' like a stain that will spread out on the clothes and weigh heavy on the peepee organ3 ,A All that" let<s ta/e notice" is still thrown TjetU 5Ithrown on the pa!eI63 It would be Gust an eFpression in current use" to say a Ihasty s/etch"I if the Get or eGaculation" the bo bard ent and the a!!ressive proGectiles" did not for once a!ain the aGor otivation of the pictor!ra 5drawin! and Ico entaryI63 And these proGections attac/ or pierce the walls3 The weapon can be the phallus or the !un 5Ithe soul that wanted to !o to bed with its father" ' sleep ounted as you ount the vir!in phallus" ' !un root of the electric ni!ht" ' !un to pierce the isery" the illustrious story ' of believin! in !od" ' when I a the one doin! it" ' says the soul" ' when I eGaculate this shit?filled fart 3 3 3I63 The proGectile is often the fart" the !as" that is" the spiritB !heiss" 0eist 5I;ill this soul find eternal rest" a!ainst the internal !as of the spirit of Gealousy fro which en have burped up !odI63 And this fart beco es once ore the bo b fro on hi!h" but here I would be the surface eFposed" a sort of subGectile openly offerin! its Iwalls3I &o as no lon!er to be the subGectile of !od who co es to IfartI his spirit on e" and whose !as e anates fro a retinue or a constipated holdin! bac/ 5Ishit?filledI eans Isoiled with eFcre entI6" I challen!e hi B And * say that my soul is myself and that if it pleases me to make a daughter who wants to bed down on me some day' shit and pee on me" * will make her toward and against god the spirit of retention shitmaker ceaselessly farting on me' eject like a bomb with her paradise upon the walls of the niche of my skull' where he has encrusted his nest3 ,,

Just as everythin! is here Ithrown on the pa!e"I the bo bard ents of the spirit 5the farts of !od" the weapon and proGectile of this !reat aladroit6 proGect the !as or eFcre ent toward the surface of a here?below 5bed' bed down' go to bed' paradise' wall' niche' nest" and so on6" of a to b or a !ravestone toward which you fall 8tomber9" unless it falls fro hi B ,he tomb of everything waiting while god makes mistakes with the tools he hasn%t been able to use level with his stomach" ,hemselves awkwardly drawn so that the eye that sees them will collapse" """ 4hile you fart in your clouds' impotent spirit' issued from the tomb of my buttocks' """ turn the bo& of the angel around in my doubly cracking tomb3 ,2 Althou!h the aw/wardness of the drawin! Ideliberately thrown to!etherI reflects or attests to the seFual aw/wardness of !od" the work takes place" not the disaster" nor the si ple fall" absolute failure" or death3 &o ethin! will have been redressed 5a wron!" really6 and stood erect" a /ind of taut equilibriu will have co pensated" supple ented" repaired the instru ental aw/wardness 5that of the seFual instru ents !od hasn<t been able to use Ilevel with his sto achI63 And what I shall hesitate" for obvious reasons" to na e the salvation of the wor/" the rescue by wor/" the survival of the newborn in spite of the alfor ations" would co e to hi perhaps as uch fro color as fro lines" in any case fro a happy co position" a !ood distribution" so e consonance of colors and for s that Iper it this isfor ation to live3I This is the Ibut"I Ithe aladroit idea 3 3 3 butIB ,he maladroit idea of god purposely standing not straight up on the page but with a distribution and flashes of colors and forms enlivening this awkwardness3 3 3 ,+ The subGectile is the place of this eFplanation" Auseinanderset+ung or altercation with the seFual aladroitness of !od3 At once a place of co bat" the eadow for a duel" a !round" a bed" a beddin! down" even a to bB you !ive birth there" you abort there" or you die there3 =irth and death" the ori!in or abortion can be si ultaneous there3 It isn<t enou!h to say that a subGectile is stretched or lies out beneath3 ;ar ta/es place between several underneaths3 The parer!onal support of the wor/" the subGectile sustains also the whole syste of a culture ar/ed by evil" by the seFual aladroitness of !od that requires the eFpulsion of a parergon" the installation of an eFteriority outside of sense" unsensed 8forsen9" of a aterial substratu supposed by representation3 =ut the bed of this supposition" the place of the eFcre ent or the fart" of the proGectile or" inversely" of the abusive suppository lets itself be inhabited by the fiends and all the succubi3 As subGect and as obGect" the addened subGectile betrays the hardened" inert" chilled effort of the subGection to the aladroitness of !od3 =ut under it" and for this you have to perforate it" put it to trial" not sparin! it as so ethin! outside" hors d<oeuvre" under it once it is perforated" you could have the innate Ico e bac/"I Ico e bac/ to an3I ;ith thunder and destruction" li!htnin!" bo bs" proGectiles" you can blow away the old subGect3

All that Ion the pa!eI or" the eFpression co es bac/ even stron!er a year later" Ion the paperIB at least four ti es at the be!innin! of I$i& ans :ue le langage est parti3 3 3I 5Ten Mears A!o #an!ua!e #eft 3 3 363 And each ti e it is to spea/ of the Istro/e"I the Ipencil stro/esI that co e brea/in! into the surface" but also the IbreathI that i plodes in the whole teFt li/e the aspiration of an interior li!htnin!3 Lightning a!ainB ,en years ago language left' and in its place there came this atmospheric thunder' this lightning3 3 3 * say then that language distanced is a lightning that * brought on now in the human fact of breathing' sanctioned by my pencil strokes upon the paper3 Then the stro/eB 8owI 1y a stroke anti)logical anti)philosophic anti)intellectual anti)dialectic of the tongue by stubbing with my black pencil and that%s all3 The breathB a Ibreath cast outI in the !ra ar of the verb 5I breathe6 or of the noun 5the breath6" whether it is y attribute or that of the achineB the I achine that breathes"I Ithat also breathesI and Ifor ten years with y breath ' I have been breathin! for s hard" ' co pact"I Iall the breaths in the du!out curvature"I I4ot one that isn<t a breath cast out with all the stren!th ' of y lun!s3I The breath breathes in the picto!ra " and literally breathes into it" i printin! rhyth and usic3 It understands and helps understand" Ito understand the corrosive structure" ' I say understand ' the constructive structure" ' where the drawin! 3 3 3 3I %f what is understood throu!h the picto!ra " of its breath" even the visible i a!e is only a worn?out eFhausted si ulacru B the Ii a!e on the paper is no lon!er that world but a decal" a sort of di inished ' copy3I This hierarchy of the audible and the visible see s to reconstitute so e classic sche as: but it does not relate word or lan!ua!e to the Ii a!e on the paper3I =reath does not in!le with voice" in any case not with the voice of lan!ua!e or of discourse" of the eFpression or the wordB 3 3 3 this was first a machine that also breathes" *t%s the search for a lost world and one that no human language integrates and whose image on the paper is no longer that world but a decal' a sort

of diminished copy" For the true work is in the clouds" 4ords' no' arid patches of a breath fully breathed3 3 3 =reath lends understanding in the picto!ra but crosswise" in crossin! both words 5!lossolalia" for instance" beyond any representative discourse" beyond any verbal unitsB what Ino hu an lan!ua!e inte!ratesI6 and the page" perforatin! the subGectile that both of the are3 It is too obvious for the paper" but we were su!!estin! it before" the word itself can beco e subGectile3 It can per it itself to be treated li/e thatB subjectile' then' is a word3 &ufficiently subGected so that" understood now as an adGective" now as a noun" it for s a co pletely different sentence3 =ut both are true3 &o a picto!ra breathed out crosses the subGectileB the sendin! of a proGectile" a drillin!" a piercin! throu!h3 A passa!e beyond representation and the eanin! in itB necessarily by a/in! a holeB 3 3 3 * say understand the constructive structure where the drawing point by point is only the restitution of a drilling' of the advance of a drill in the lower depths of a latent sempiternal body" 1ut what logomachy' isn%t that it' couldn%t you' .r" Artaud' make your lantern a bit brighterI .y lanternI * say that for ten years with my breath3 3 3 4ecessity of a logomachy3 That is to say beyond the becal ed politeness of a cultured lan!ua!e" the war with words" the drillin! and addened destruction of a lan!ua!e policin! and rei!nin! over its subGectiles3 In this confla!ration of words" a!ainst words" the !uardians of lan!ua!e will denounce a lo!o achy: they will require that discourse confor to peda!o!y and philosophy" indeed to dialectic3 =ut lo!o achy ai s at ta/in! breath bac/ fro the " in a war of reconquest3 The otif of restitution" which appears at least twice in this sa e passa!e" does not necessarily have the cal in! sense that one i!ht i a!ineB the reconstitution of a past" the reconstruction or reinte!ration of a body" the reerection" resurrection" and so on3 IThe search for a lost worldI doesn<t chase after a hu an past" a !olden a!e that" albeit in its ythic di ension" would have had so e for of a past presence3 The I aladroit drawin!s but 3 3 3 so adroit" that say &KIT to this world"I they don<t oppose to it a Ilost worldI toward which we would have to return by crossin! the veil or the canvas3 Hestitution never has simply the for of a return" of a reinte!ration" a resurrection3 Cirst of all the drawin! does not restitute so ethin!" but the havin!?ta/en?place of a drilling 5Iwhere the drawin! ' point by point ' is only the restitution of a drillin!I3 3 3 Ithe atte pt on the ver!e of a pierced infiniteI63 And this piercin! throu!h" this drillin! that also eFposes to the dayli!ht" pro ises less the reappropriation of a obGect lost in the past than a new birth to co e3 Henaissance" of course" but then with all the perforation of what will have been forcibly in?born" that is to say" without past will be born3 And

then" beyond this sa e !ra ar ?!ra ar is always the order of subGectiliNed words ?? without a future perfect3 If at least we understand under these words so e odifications of the present 5the past present" the past future anterior6" that is of the obGect" of the subGect" and of the subGectile" of presentation and representation3 These wor/s no lon!er belon! to Art if the latter always i plies representation" reappropriation" reinte!ration" transposition" or fi!urative translation of the sa e" as i plied by the latent affir ation of I$i& ans :ue le langage est parti3 3 3 3I 4either Art" then" nor Drawin!" nothin! that rests" with such a title" on a subjectile" Ion a paperIB Gow what * am drawing these are no longer themes of Art transposed from the imagination onto the paper' these are not affecting figures """ no drawing made on paper is a drawing' the reintegration of a sensitivity misled3 3 3 If the restitution no lon!er corresponds to a ove ent of inti ate reappropriation" at least not directly" it<s because in its IproperI o ent" if we can still put it li/e that" its e&pression has the eFcre ental violence of a new writin! of the body that perforates the surface and attac/s the subGectB all the spurtin!s quieted" inert" deadened" supposed" posited" all the supports and substrata that !ive to the subGectile its stubborn obGectivity" all the effects of the seFual aw/wardness of !od3 Cor this eFpression" the best?for ed instru ent is eFcre entB an insultin! proGectile" conGuration" eForcis " incantation" i precation" eFcla ation hurled a!ainst the alady" catharsis" and a ulet3 Cor the an is very sic/3 And he also dia!nosesB

Gow what * am drawing """ these are gestures' a word' a grammar' an arithmetic' a whole Oabbala and which shits at the other' which shits on the other' """ you will reali+e from my maladroit drawings' but so crafty' and so adroit' that say -8*, to this world3 To throw so ethin! ri!ht in so eone<s face" li/e an insult fran/ and strai!ht and direct" addressed to this world with no detour" to spit at that face the fi!ure of e&crement" in a word" shit" that su s it all upB !estures" !ra ar" arith etic" and the ]abbala that shits at the other and on the other3 The crafty person" who co es to correct so e wron!" is a sort of copula between the ri!ht of the adroit and the ri!ht of the aw/ward3 The drawin!s are aw/ward because they are crafty" s/illful" sly" adroit" indirect strata!e s for pla!uin! this world with its nor s and values" its eFpectations" its Art" its police" its psychiatryB in a word" its rights3 Artaud is spea/in! to these sic/ ri!hts to force the to say shit and sayin! it to those ri!hts3 ,o these ri!hts" and at

the " castin! out the very word li/e eFcre ent as well as eFcre ent as a word3 There would be a lot to say about the notions of address and law and ri!hts" precisely" and the directions of the throw or the spurt 8le jet9" of the reGection 8le rejet9" the deGection" and the eFcre ent3 Mou can cast or spurt in all directions" whether with a proGectile weapon or to send so e !ift" even so e help3 =ut so eti es it<s enou!h to say IcastI or IthrowI 8jeter9 in order to su!!est the connotation of the cast or thrown away 8le dchet9 as it is reGected or abandoned3 7sually" I throw on the floor anythin! that see s to e without value" or shoddy3 =ut eFcre ent" a perfectly shaped odel of what is thus reGected downward" can also be of value as a weapon or as a present3 And it can be thrown upon as well as at3 At the other or upon the other3 ;hat receives eFcre ent li/e that" for eFa ple ri!ht in the face 8la figure9 of its na e" could be the surface of an underlyin! body" a subGectile in !eneral" but we should also note that the subGectile was constituted in this world and in the traditional history of its Art as an eFcre ent itselfB what doesn<t belon! to the body of the work is found beneath it" an epi!raph" a atter eFterior and parer!onal so eti es dropped3 ;hence the crafty outloo/ and the tor ent of the scene3 ;e say shit to the subGectile" to this world as a subGectile or as the place of subGectiles in !eneral3 =ut we do it in castin! at it so e subGectile" or what" in this case" can always beco e such3 4ow what happens when eFcre ent beco es breath" when in a word it eFpresses itself thus" shit" throwin! itself a!ainst the subGectile without describin! anythin! else" without representin! anythin! ore than itselfL This lan!ua!e is no lon!er a lan!ua!e3 It should at least no lon!er subli ate itself or a/e itself subtle toward so e sense or so e obGect3 It should e&press itself without delay" without relay" without tardiness3 In the bodily stru!!le where a breath throws itself a!ainst the subGectile" it a/es itself literal and material3 =ut the letter then is no lon!er subGected to the spirit and atter is no lon!er interpreted as a subject 5substratu " substance" support" hypokeimenon" subGectile63 A literal atter beyond transposition" translation" fi!uration" rhetoric3 ;e were sayin! before how a picto!ra " this one" should be understood literally3 It was necessary to a/e it preciseB to the letter of an e ancipated letter" of a letter that" even in words" even in verbal lan!ua!e" no lon!er obeys the conventional law of eanin!" of reference" of representation3 Artaud calls the letter subGected to this law si ply the Iwritten letterI: he opposes it to the IletterI as such3 Ke does not propose to abandon words" sentences" nor the letters that are cau!ht up in the 3 =ut he eans to bend the to a new relation" a new Ico port ent"I a new destination" and it ta/es stren!thB let the letter traverse and wor/ throu!h the subGectile" doin! it literally" that is to say without any sub ission to writin! in the current sense" to the Ihu an ton!ue"I to literature itselfB Got one that isn%t a breath cast out with all the strength of my lungs' of all the target of my breathing' not one that doesn%t answer to some real bodily act' that isn%t' not the figurative translation

but something like the efficacious target' on the materiali+ed paper" * am' it seems' a writer" 1ut what do * writeI * compose sentences" 4ith no subject' verb' attribute' or complement" * have learned words' ,hey have taught me things" *n my turn * teach them a new way to act" Let the pummel of your tuve patin intrumen you to a bivilt red ani to the lumestin of the sectioned utrin" ,hat means maybe that the woman%s uterus turns to red' when van Mogh the mad protestor of man tries to find their march to stars of too proud a fate" And that means that it is time for a writer to close up shop' and leave the written letter for the letter" ,* That happens3 It<s happened3 This achinery of the breath has always been at wor/3 Certainly" and fro the first teFts3 =ut this always has not always eFpressed what it had to be with the sa e force3 And it isn<t only a question of de!ree3 This force is born one day" to itself" fro a certain rippin! apart3 6nce' one time only' at once" even if in another way it was already there" innate althou!h inborn3 ;hat had /ept it so distanced fro itselfL Precisely a difference of substance or of support" what separates Ithe written letterI fro the IletterI as such" differentiatin! between literary art and the literal drawin!3 Cor such an event to ta/e place" for the distance to be reduced" a departure from language was necessary" a separatin! fro lan!ua!e separated fro the body" ovin! away fro a lan!ua!e of words without space or drawin!" fro the IliteratureI of writers" in order to !ive birth to a new lan!ua!eB a new departure for a lan!ua!e in which writin!" usic" color" and drawin! would not draw apart a!ain fro each other3 Mes" that too happened suddenly" Iby a stro/e"I the Ili!htnin!I was there" and the IthunderI to stri/e the date of this birth" the ineffaceable event in its sin!ularity sealed off3 A blow Iof the ton!ue"I to be sure" but helped Iby y blac/ pencil3I Kelped 8appuy9B aided" sustained" prolon!ed" but also under the pressure and the incisive i pulse of the !raphite3 ,en years ago language left' and in its place there came this atmospheric thunder' this lightning" 3 3 3 8owI 1y a stroke 3 3 3 of the tongue by stubbing with my black pencil and that%s all3 333

* say then that language distanced is a lightning that * brought on now in the human fact of breathing' sanctioned by my pencil strokes upon the paper3 And since a certain day in 6ctober =?@? * have never again written without drawing3 Gow what * am drawing3 3 3 &hall we say that on this date" Ia certain day in %ctober )*D*"I the subGectile will no lon!er be accountable for that treason of which Artaud had accused it on &epte ber @D" )*D@L &hall we say that fro now on the subGectile will no lon!er betray Artaud<s si!nature" and that across the adroit aw/wardness clai ed fro now on" across the craftiness of the address" Artaud<s picto!raphic wor/ only attains its idio after this deparure of lan!ua!e and this Istro/e 3 3 3 of the ton!ueLI I believe the hypothesis reasonable" but its verification can only be approFi ate and not absolute3 Cor essential reasons" we can only calculateB on one hand a hypothesis is also a subGectile" and the subGectile a wor/in! hypothesis" as one i!ht say a wor/ table: on the other hand" the rupture dated li/e that was prepared for and announced too lon! in advance" so that it has too little of the sense of an arrival at a destination" re ains too forei!n to sense" too unsensed" to acco odate itself to the rational order of such a story3 #et<s retain the hypothesis nevertheless3 #et<s posit that the lan!ua!e thus distanced" findin! itself so truly Idistanced"I let<s suppose that there has ta/en place a departure" a split and a separation" or a certain birth" let<s suppose that in the place of the Iwritten letter"I the IletterI has finally co e" literally" not si ply co e bac/" but that it has beco e literally literal" what it was destined to be" when II have never a!ain written without drawin!3I In )*1," a year before the re inder of this Icertain day in %ctober )*D*"I Artaud na es the subGectile a second ti e3 Ke interprets and assu es once a!ain the aladroit otifB ,his drawing is a grave attempt to give life and e&istence to what until today had never been accepted in art' the botching of the subjectile' the piteous awkwardness of forms crumbling around an idea after having for so many eternities labored to join it" ,he page is soiled and spoiled' the paper crumpled' the people drawn with the consciousness of a child3 2> That is the subGectile havin! fits3 It ust have suffered" this subGectile which for erly used to betray" it ust have suffered everythin! that as a support it had to withstand" and to withstand passively under all the blowsB it<s that passion and the torture of the Ipaper cru pled"I of the Ipa!e 3 3 3 soiled and spoiled3I This ti e" or at least in appearance" it no lon!er betrays" it is no lon!er the aster" not even a aster of truth3 =ut it re ains a place of birth3 And what is then born in this spot" to this e pty and indeter inate place" the in?born to which it is a question of I!ivin! life and eFistenceI by drawin! li/e a Ichild"I is what ar/s pre cisely the death of the subGectile as such" the end of its authority3 (iolently ishandled" the parergon will be fro now on

incorporated in the wor/" it will a/e part of it3 Its eFteriority" its transcendent neutrality" its ute authority will no lon!er be intact3 %nce a!ain" the eFhibition of aw/wardness" that of the Ifor sI and that which istreats the support upon which we see the cru blin!" in no way si!nifies the technical wea/ness of so e puerile drafts an3 It lays bare the ori!inal disaster" a!ain the seFual aw/wardness of !od" after which there is technique" art" the fine arts" and the Idrawin! principle3I The aw/wardness is not in the drawin! or desi!n" it is desi!ned??by desi!n3 The subGectile too/ up the space3 4ow we have" throu!h the Ibotchin! of the subGectile"I but in itself" in its place" to a/e roo for what had never been Iaccepted3I To brin! it about that failure" the fall" the co in! due and the decadence" the deGection of the subGectile will finally be accepted3 Acceptance" reception on the subGect of a subGect" and of so ethin! that fi!ures precisely the receptacle" of so ethin! that is al ost nothin! and that ust be replaced in its place by place??for the subGectile is nothin! other than the e pty placin! of the place" a fi!ure of the khora" if not the khora itself3 4ow this reception supposes a reversal of values" eanin! upside down and out of sense at the sa e ti e3 =ut the out of sense will ta/e on a sense" ore senseB insensibly3 The subGectile had always been subGected" subordinated" neutraliNed in its al ost effaced place as a support3 =ut fro this place" and surreptitiously" underta/in! this transcendent neutrality" it co anded3 Cro then on incorporated" treated" and su oned as such" it will be a part3 It will be put to wor/3 And this is what has to be received3 Twice the word IacceptedIB Ito !ive life and eFistence to what until today had never been accepted in artI and" in the para!raph followin!" II wanted all this an!uish and eFhaustion of the consciousness of the see/er in the center and around his idea to take on some meaning for once" for the to be accepted and ade part of the wor/ acco plished3I 2) The trace of the failure ade wor/" the passionate and pulsionate trace of the breath lost but also of the eFpiration3 The IbreathlessnessI inscribes itself in the very wor/" incorporated in the support and incorporatin! in its turn the parergon that it rehabilitates and thus le!iti ates3 Collowin! the inGunction" we will no lon!er be able to separate the drawin! fro the writin!B the writin! in it and writin! outside of it" apparently dealin! with it 5by the so?called Ico entaryI of the Idrawin! to be loo/ed at sidewaysI which is eFplained by the Ibotchin! of the subGectileI63 ;e would li/e to take account" in su " of two wor/s and two subGectiles" two papers" one co in! after the other and dealin! with it" the one on which there would be held a discourse about the other" a Ico entaryI dealin! with the other3 =ut this is not to be3 The teFts are different but inseparable" neither of the two is subGected or subordinated to the other" as its second3 There are two subGectiles for one wor/" and in truth" two unique eFa ples of the sa e event" absolutely different but indissociable3 Is this even possibleL =ut if it were not i possible" what would be the interestL The Idrawin! to be loo/ed at sidewaysI contains so e words" it inserts the " and even the caption plays a role" beco in! a title??for al and active" I ean active by its for and its place" in the arc of a circle above the paintin!3 Just as the words Iat the botto I and IunderneathI are found at the botto and underneath" on the ri!ht" Gust

above??precisely??the word Iri!ht3I A !esture at once crafty and adroit3 All these places are ar/ed" above and below" on the subGectile which is always found underneath3 =ut althou!h by itself each teFt is inco plete because it refers throu!h the other and supposes it" the Idrawin! to be loo/ed at sidewaysI??itself" if we can put it li/e that?? eFhibits a sort of Ipiteous aw/ wardness of for sI which" even bein! quasi? deliberate" contrasts no less with the eFtraordinary perfection of the other teFt" a si ulacru of descriptive etateFt which nevertheless belon!s to a whole that is not closedB what is called the Ico entaryI of the drawin! by its author3 A astery here" to be sure a trans!ressive astery and one driven ad" but soverei!n" without the least hint of wea/ness in the verbal control3 The Ireadin!I of the picture unfolds li/e a poe " it sweeps everythin! alon! in its breath" even the breathlessness of which the other subGectile bears the scars3 The intonations" the alliterations" the violence of the syntaF stri/e" as it were" so any successful blows3 Address itself" beyond address and fine arts3 %nly another poe can easure up to it3 ;e have to call on another poetic picto!ra to acquit ourselves of the readin! of this one" thus producin! it" in a certain way3 #i/e the drawin!" the poe hurls out its wordsB a powerful proGection of literal ato s" and forcefully or!aniNed" for eFa ple around the letter H and the syllable TH" in other words" around the leTTHe" li/e the l%#,R# of l%au,Re 8the bein! of the other9 in the truth of its #,R#, 8bein!ness9" as a protest si!ned" consi!ned" countersi!ned as/ew" in the harsh consonants of the si!natary" a!ainst Ila fausse atretI 8false bein!ness93 ;e have to loo/ at the tr sideways 8de traviole93 A sin!le stro/e lin/s to!ether" in the sa e breath" the trun/s 5twiceB two trun/sI6 to the Itruncated parts of a utilated bodyI and to the IeFcavation utilatrice des chosesI 8the utilatin! eFcavation of thin!s9" to the 7tre 8hearth9 5twice the 7tre" once Iabove this arcane an"I once under l%/tre" Ipendant :ue l%/tre sur l%7tre sombre de sa synovie se feraI 8while bein! is co posed upon the so ber hearth of its synovia96" and to l%/tre" bein! li/e a word drawn 0 la lettre 8literally9" drawn in its lettres 8letters9" which" outside of sense" offer the selves to be visible and to be understood as such" Iato s of a bein! that does not eFist3I This literal bo bard ent of proGectile letters is not only evo/ed by the representation of a cannon whose seFual outline haunts so any other drawin!s3 It is na ed" li/e a bo bard ent of the bein!" in the teFt itself" na ed and eFhibited" desi!ned and practiced3 Cor eFa ple" and I will not ta/e any ore account of all the t<s and the r<s" 2@ their a!!lutination or their distant attraction" the alliterations or the ana!ra s that writin! for!es behind the scenes" as Iin the secret crucible?to b of anIB 3 3 3 in this work there is an idea" ,hat of two columns and two trunks' the two lateral sides of true being of which each is a uni:ue mounting' like the truncated parts of a mutilated body when in the secret crucible)tomb of man who was preparing it' the two trunks of the e&ploded breath condense like breasts' the suspended breasts of a hearth which flames above this arcane man who torments the matter in himself to have beings come forth instead of every idea" )) And the lateral trunks of the soul are the members of this idea" )) ,he idea will go" 4here will it go" *t will go but it won%t go at all" Consciousness will vomit it out" Let what rolls in the kneecap roll while true being will form itself on the somber hearth of its synovia" And where are the synoviaI *n these e&ploded globules of the body' which every soul holds suspended in its emptiness to bombard with them the atoms of a being that does not e&ist3 2D

The bo bard ent of the ato s of bein!" of the letters of the word of bein! that does not eFist" the bo bard ent of these ato s of bein!s the selves bo barded by the proGectiles is pursued in the second wave of the teFt" relayed by la terre 8the earth9" l%/tre dans l%absolu 8bein! in the absolute9" la matiFre 8 atter9" des siFcles d%/tre 8centuries of bein!9" l%homme enterr 8 an interred9" les #r-tres 8the priests9" la fausse /tret 8false bein!ness9" l%/tret" and so on3 This literal thunder" itself na ed in the teFt" is interpreted accordin! to the aterialist and ato istic style because the Ie ptinessI of the ato ists is certainly na ed therein" and because another word in TH" matiFre 8 atter9" the subGectile of all words" represents the e pty place of the tor ent and the utilation3 Arcane an holds his hand on his seF3 If he Itor ents the atter in hi self to have bein!s co e forth"I what he is hidin! and showin! thus" the place of tor ent" in other words" of wor/" is under the hand" a sin!le hand" the phallic and uterine atter" the proGectile and the orifice of birth?!ivin!B the atricidal subGectile" the double or!an of a phallic pro!enitor" father and other at the sa e ti e3 ICor I a the father? other" ' neither father nor other" ' neither an nor wo an 3 3 3I3 21 This cohesion of the poe in H" TH" =H" HAB ira' fera' vomira" and so on doesn<t have to do only with for B it corresponds to a powerful settin! of thou!ht" to a sort of fantas atic ythos" pulsatin! beyond both /nowled!e and philosophy3 #et<s not try to translate it in philosophe es or in theore s3 There is the secret" the crypt of this Isecret crucible?to b of an"I this IarcaneI an3 Ke tor ents or draws" with his hand on his lower parts" the atter of offsprin!3 At the level of his hand" a cannon and then another" li/e an earphone at his ear3 The Iidea"I na ed five ti es3 IAroundI it everythin! is or!aniNed" rises" cru bles3 The two colu ns rise or set the selves up" to be sure: they ove forward" they throw the selves 5and jacere" to throw" we re e ber" eans also to throw down in the sense of foundin!" institutin!" hurlin!" raisin!6" but inversely" IaroundI the sa e idea of these two colu ns raised up" it is aw/wardness 8maladresse9" the other di ension of to throw 5to be stretched out" lyin! down" reclinin!" struc/ down" fallen" cru pled on the !round6B Ithe botchin! of the subGectile" the piteous aw/wardness of for s cru blin! around an idea3I A co position of forces3 There is a Iwor/"I the word appears twice and the wor/ only holds" only resists deco position by the tension balanced for one o ent between the adroit and the aladroit" the rise and the fall3 Bacio 3 jaceoB a double si!nature at the privile!ed o ent of the co in! due3 A double conGecture3 A si!nature is always conGectural3 That is the idea" fro the adroit to the aw/wardness" between adroit and aladroit" the center of the wor/" at the place of the hearth3 This center ?? for it is the question of the center that Itor entsI an when Ihe tor ents the atter in hi self to have bein!s co e forthI ?? rese bles a radiant sun3 4ot the sun of true bein! but that of the hearth Iwhich fla es above this arcane an who tor ents the atter in hi self 3 3 3I3 =ein! is not" it is not present" it re ains to be born" li/e the Ibein!sI who will co e forth fro the atricidal phallus of the arcane an3 A pro ise of the bein! to be born" a future of the in?born as the future of the idea" precisely that of the wor/3 The !loss" if it can be put li/e that" and the stro/e of the ton!ue" the voicin! of the future" all that hears itself resoundin! in the teFt in one final HA" the !ra ar of the future" itself inscribed in the drawin!" upon the body of the subGectile" upon the breasts" within the colu nsB IAnd the lateral trun/s of the soul are the e bers of this idea3 The idea will !o3 ;here will it !o3 It will !o but it won<t !o at all3 Consciousness will

vo it it out3 #et what rolls in the /neecap roll while true bein! will for itself on the so ber hearth of its synovia3 And where are the synoviaL In these eFploded !lobules of the body" which every soul holds suspended in its e ptiness to bo bard with the the ato s of a bein! that does not eFist3I $verythin! happens as if the !eneratin! force of the drawin!" what literally infor s the for s within it" were to for!e itself first of all in the ton!ue" in the trachea rather" in this place where the !losse atic differences do not yet si!nify" all driven ad" outside of sense as they are and ready to superchar!e the selves with sense3 The lines and the places" the distribution of stro/es and of !raphic representations would follow a pattern" for eFa ple that of the difference between /tre and 7tre 8bein! and hearth93 Just so" the TH or the =H would literally !ive orders to the eye and to the handB draw trun/s" truncated parts" traces" a hearth" breasts" a so ber hearth" a an interred" and so on3 4aturally" it doesn<t happen li/e this" and everythin! is en!endered accordin! to a body in which these orders are not yet articulated3 4either chronolo!y nor lo!ic" nor hierarchy between the order of the ton!ue and that of the hand" between the ear and the eye3 This order does not articulate itself eFcept in the nor ed and for ed epoch of the subGectileB the organi+ed body" the five senses" the atter of the support eFterioriNed in a parergon and surreptitiously a/in! the law fro its supposed neutrality" and so on3 =efore this articulation" no difference between the soundin! of the TH" for instance" and the visible pheno enon of the trace" the trun/" and so on3 4o visible or audible difference" in any case" not articulated3 4o hierarchy of principle" but another force of propulsive trainin!3 And the o ent of articulation is ar/ed in this drawin! that could be analyNed as a reverse !eneration" the !enealo!y of the bein! of the future body sideways" seen askew" the de!enerescence of the subGectile body" the deco position of the labile" docile" tractable bein!3 The synovia a/e a !ood articulation possible3 The word co es fro Paracelsus" !atherin! up" holdin! in vitality and in suspense so any !er s and se es in its ovula that a synthesis can only sin by o ission" also an analysis3 -ynovia desi!nates the liquid that oils the articulations" for eFa ple" lettin! Iwhat rolls in the /neecap roll while true bein! will for itself on the so ber hearth of its synovia3 And where are the synoviaL In these eFploded !lobules of the body" which every soul holds suspended in its e ptiness to bo bard with the the ato s of a bein! that does not eFist3I ;e i!ht be te pted to say that it doesn%t yet eFist" that it is to be born" shown at wor/" in travail in the drawin!" an eschatolo!ical" essianic" salvatory 5Ito save the soul 3 3 3I6" apocalyptic pro ise3 #et us thin/ about all of Artaud<s teFts about the last Gud! ent but also IPour en finir avec le Gu!e ent de dieuI 5To Kave Done with the Jud! ent of 0od63 And in fact" ri!ht here" the di ension of the future is several ti es ar/ed: in the ra of the ira 8will !o9 2A 5rather than in the come of the Apocalpyse6" of vomira 8will vo it9" of the se fera 8will for itself9" said of ideas or bein!" in what se prpare 8is preparin!9 for bein! while hu ans have been Iwaitin! for centuries upon centuries to be fabricated by !od 3 3 3I3 And yet3 ;hat re ains to co e and announces itself here in labor" in travail" will no lon!er have the na e of bein!B it will be so ethin! else" whose future will no lon!er be the reconstituted" restored" redressed" resuscitated presence of the Ibein!nessI of bein! 8l%/tret de l%/tre93 4either theolo!y nor ontolo!y for this /tret" for this /tre , of l%/tre3 5Twice T in the proper noun36 The future will be what it ust be" absolute" thus beyond any present?bein!?to?co e" thus beyond bein!3 To be what it ust be" the

future" it must not be" but rather" !o 5ira6" be about to co e3 4e pas /tre' naQtre3 84ot to be" to be born39 That supposes another labor" another apocalypse" another artyrdo " another suffering3 As we will see later" the subGectile ust be ade to suffer and to labor differently3 The classic subGectile" that of the fine arts" of theolo!y" of ontolo!y" apparently supports without sufferin!" without !estation" without incubation" without this travail of labor fro which the other of true bein! will be born3 It lies recu bent 8gQt9" but without bein! in confine ent 8gsiner93 ;e /now that the old word of lyin!?in 8gsine9" co in! fro Ito lie helplessI 8!sir9" si!nifies the birthin! of a wo an3 The travail and the sufferin! of the other" the other travail and the other sufferin! then" such is the point of the picto!ra entitled $essin 0 regarder de traviole" the point also of the teFt that" see in! to co ent on it" is in fact as separable inseparable fro it as its atriF" the ar!in of its !eneratin! phono!ra B Gow during this travail' the man in chains issued from the earth suffers with war at his right side Tfrom the right side of the man' to the picture%s left' we see the cannon! the right' the law' the address' the rectitude' the rectum' the orthopedic norm' but also the gaucheness' the phallic figure' the project) ejaculation' and so onU" 1lue from horror with an iron yoke on his head' the man of this humanity" )And whence comes the evil that the being in the absolute prepares for himself while the man with the severed arms' a matter of mutilation' has been waiting for centuries upon centuries to be fabricated by god" ,he point is it%s not god who makes man but a man himself interred' and the man issued from this man finishes himself afterward" )) 4hile the priests of god good at the very most for caressing their beard are turning their buttocks to that activity' to that mutilating e&cavation Tmutilatrice (mutilating and scarring and cicatrice both have l%7tre as a hearth or matrice (matri& ' as we would say here' for the pictogram in its entirety' including the subjectile that supports it and even finds itself represented right in itself' for e&ample' in the place of the mutilating e&cavation' in the genital utero)phallic orifice (upon which the man places his hand U of things that works in the body stretched out to save the soul from a false beingness3 4hat does this beingness consist ofI 6f swallowing up in the eucharist all the blood and the synovia of the eternal tortures of man' without oneself having suffered anything and coming afterward to teach the martyred man what he is suffering' when oneself is no longer suffering3 And how do we know thisI *n caressing one%s beard' while man stinks in his own blood3 2, ;ho is the subGectileL A support" an instru ent or a succubus" it puts up with everythin! that co es to lie down or throw itself upon it" uch as one lies down or as one throws so ethin! on the paper3 It puts up with it" but without sufferin!3 It suffers this or that" transitively"

without sufferin! ?? intransitively3 It occupies the place that Artaud has Gust defined in e&ecrating it" in reGectin! itB Iwithout oneself havin! suffered anythin! and co in! afterward to teach the artyred an what he is sufferin!" when oneself is not sufferin!3I The word eFecratin!" the alediction or the conGuration of the sacred evil" cannot be written without associatin! what it says with e&pression" eFpulsion" and eFcre entB a reGection outside and separation3 L%#&cration du 5Fre).Fre 5The $Fecration of the Cather?Mother6" this drawin! fro April )*1," would also put us on the trac/3 The subGectile 5who is itL6 suffers everythin! without sufferin!3 Thus without co plainin!3 It is in inaction" but re ains i passive3 It accepts and receives everythin!" li/e a universal receptacle3 As it fi!ures also the place" the placin! of all the fi!ures" we thin/ of the khora of the ,imaeus3 =ut let<s let this e ory wait3 A subGectile is patient" it waits for everythin!" is attentive to everythin! but re ains i passive3 It is a place of incubation3 It ta/es upon itself all the for s" supposes or presupposes and so subtracts itself fro all oppositions" for eFa ple the one of the an and the wo an" even of the father and the other3 It ta/es the for s that are deter ined upon itself" it ta/es the upon itself without assu in! the " that is why it is eFasperatin!3 It ta/es upon itself without assu in! it the utero?phallic for of the father? other in the $essin 0 regarder de traviole3 6n one side" the subGectile is a ale" he is the subGectB he a/es the law fro his supposed transcendent neutrality3 Ke is the father" he !ives lessons" co es to teach" even as he /nows how to be silent" for he spea/s the law in /eepin! quiet3 Ke is li/e those two colu ns of the law" li/e those two cannons that represent hi B tattoos on his body3 =ut on the other hand" and also inseparably" this sa e subject)he 8sujet)il9 a/es all the si!ns traditionally interpreted as attributes of fe ininity" even of aternity3 Cirst" he is a substance" even the atter of a hypokeimenon" and not an attribute" precisely3 A atter or a atriF stretchin! out beneath" and whose beneathness receives the advances and the oves forward" the proGectiles and the eGaculations: it easily beco es the object of a bi!uous a!!ressions" it eFposes itself passively" one i!ht say" to the ar/s and the seiNures of instru ents or conveF or!ans" the hand" the penis" the teeth" the pencil" the pen" the brush" the fire of the atch or of the ci!arette" the cannons" the li!htnin!" or the bo b3 Then the subGectile" this wo an" is also a otherB place of travail and of birthin!" lyin! down and lyin! in at the sa e ti e3 In vain does the word subjectile have an il inscribed in it" its phonic for retains resonances conventionally associated with the fe inine" precisely in its il" in the sound ileB fra!ile" !racile" docile" the sli!ht wea/ness of what is ore !racious than powerful" the aerial" the ethereal" the subtle or the volatile" even the futile3 The subGectile breathes andflies3 5Kow are they !oin! to translate thatL6 The subGectile?flies3 The innate child that this father? other secretes away in its crucible in itself3 The subGectile would not only be the andro!ynous father? other" incubus succubus that it represents even in itself 5the two breasts" for instance" the Iit will !oI and the Ibut it will not !o yetI inside these two phallic colu ns of the law6" it is also the child" the pro!eny" the Ibein!sI proGected" procreated" and thrown which ust Ico e forthI fro there3 The subGectile?he and the subGectile?she steal the in identifyin! itself also with the 3 In the !enealo!y of this teFtile" we can count tous lesfils 8all the threads or sons9 et filles 8and dau!hters9 of Artaud3 The subGect as a

subGectile" it<s me" the e that adds itself or subtracts itself" to support the " to or fro all the fi!ures in the uterophallic scene" it<s the and me of Ci)gQt 5Kere #ies63 Cor really" what is the subGectile if not the eadow of a here?liesL The be!innin! of Ci)gQtB *' Antonin Artaud' am my son' my father' my mother' and myself< leveler of the idiotic periplus on which procreation is impaled' the periplus of papa)mama and child' soot of grandma%s ass' much more than of father)mother%s3 22 =ut then whatL ;hat is the subGectile eFactlyL 4o atter what" everythin! and no atter whatL The father" the other" the son" and yselfL Gust for !ood easure" because we could say the subGectile" it<s also y dau!hter" atter and the holy &pirit" atter and the for of for s" the support and the surface" the representation and the unrepresentable" a fi!ure of the unfi!urable" the i pact of the proGectile" its tar!et and its destination" the obGect" the subGect" the proGect" the subGacent of all these spurts" the bed of the succubus and the incubus" etc3" the et cetera even as the place of universal incubation" the absolute preoccupation" 2+ what bears everythin! in !estation" ana!es everythin! and !ives birth to everythin!" bein! capable of everythin!3 In short" everythin! and no atter what" so that there is no ore sense" rather so e addenin!?of?sense to as/in!B Iwho is itLI Can one even as/" or wonder" Iwhat is itLI IIt<s whatLI 4o" it<s nothin!" nothin! at all" no deter ined bein!" fro the o ent that it can ta/e on the deter ined loo/ of anythin! at all3 Transcendence of the %ther ?? and of the %ne3 =eyond bein!" epekeina tes ousiasB II a one and not nu erous"I says Artaud" and also the subGectile3 That<s how he eFasperates" and she too" that<s what the thin! we call subGectile be!ins by callin! !estures" and the ost contradictory !estations and !esticulations3 ;e have to deter ine and drop3 $verythin! and the rest" this is what it is without bein! it3 And the rest re ains inconceivable" even if it a/es a place" its place for any possible conception3 It has no propriety" it is proper" thus i proper to ta/e the on" to ta/e" to understand the all 8prendre' comprendre93 ;e have to start with what ta/es place with the i propriety of a subGectile3 A place" separation and receptacle" difference" interval" interstice" spacin!" as the khoraB neither sensitive nor intelli!ible" neither the i etic copy of the paradi! of the eidos" nor the paradi! or the odel the selves" rather a Ithird genos"I difficult to conceive eFcept as a hybrid Ibastard reasonin!"I as Iin a drea "I Plato says in the Ti aeus" in a drea but beyond every sensation3 This anesthesia doesn<t ean that the khora is intelli!ible3 It holds itself" li/e the subGectile" underneath" and it is thus that it erits its na e of receptacleB hypodokhe3 And we compare this receptacle to a nurseB I;hat propriety 5dynamin6 ust we suppose 5hypolepteon6 that she has naturally 5kata physin6L =efore anythin!" so eone of this !enderB of every birth

5pases geneseos6 she is the receptacle and li/e 5oion6 the nurseI 5 ,imaeus1*a63 Like the nurseB only a co parison" a fi!ure3 ;ith Artaud" ustn<t we co e bac/ fro #atin to 0ree/" especially when it is a question of birth and of nursin!" at the hearth of lan!ua!e" aternal or atricidalL This /ind of nurse who Ireceives all the bodies"I we ust I!ive her always the sa e na e"I for she never loses her proprieties3 Heceivin! all thin!s" this receptacle never ta/es any Ifor I li/e those that IenterI into itB it is" Iby nature" li/e a bearer of i pressions 5ekmageion6 for all thin!s3I The support is Iset in otion and cut out into a fi!ureI by the thin!s that IpenetrateI it3 And yet" it ust re ain hetero!eneous to everythin! it receives" Iabsolutely eFe ptI itself Ifro all the fi!uresI that co e to inscribe the selves in it: i passive" transcendent and subGacent" unfi!urable receptacle of all the fi!ures" /eepin! its unalterable property of not havin! any and of bein! sufficiently undeter ined" sufficiently a orphous to ta/e upon itself all the for s3 7pon hi " upon herB the co parison of the nurse is followed by a co parison to the otherB ICor the o ent let it suffice to fiF in one<s ind these three types of bein!sB what is born" that in which it is born" and that in the li/eness of which what is born develops3 And it is fittin! to co pare the receptacle to a other 5metri6" the odel to a father 5patri6" and the inter ediate nature to a child 5ekgono6I 5A>c"d63 That is only a co parison" a fi!ure of rhetoric" thus" a particular for that can also receive the khora3 In itself" so to spea/" it is no ore to be confused with the other than with the father or the child3 It re ains indifferent to the fi!uration and to the substitution of places that all ta/e place in it" the place and the spacin! itself3 ;e have only to read all the Cahiers de Rode+" without which the drawin!s of this epoch would re ain ore unintelli!ible than everB we will better understand the ea!erness around the subGectile" a!ainst this indifferent" i passive" a orphous" undeter ined khora" all?powerful in that and yet nothin!" one and the other at the sa e ti eB that is why we have to force her" !ive her sense while she is herself" outside of sense" unsensed: the khora ust be deter ined" !iven her place" althou!h she is the place that she !ives" !iven her for and the in?born cause to be born there3 And for that" we will soon verify it" we ust attac/ her and protect her" drive her ad" a/in! her lose her sense" that is to say" her identity and her propriety" but as this sense consists in not havin! any" the drivin! ad co es down to tryin! to !ive her finally a fi!ure or sense" and fro then on to confinin! her to itB a double constraint and a double conjecture3 There is no question of !ettin! out of it here3 ;e can only subscribe ?? and si!n3 A year after the $essin 0 regarder de traviole and the Ibotchin! of the subGectile"I Artaud a!ain na es the subGectile" for the third and" to y /nowled!e" the last ti e3 This is in Cebruary )*123 The father? other receives its na e but a relation isn<t clear" no ore a relation between the two 5IorI6 than the relation to the fi!ures or the relation to the subGectile3 ;hat does Ithrou!h father or throu!h otherI eanL Iwithout the subGectile ever co plainin! throu!h father or throu!h otherIL Do the father or the other represent the subGectile as these Ifi!uresI that it supports" indeed li/e its porte)parole" or are they the subGectile itselfL ,he figures on the inert page said nothing under my hand" ,hey offered themselves to me like millstones which would not inspire the drawing' and

which * could probe' cut' scrape' file' sew' unsew' shred' slash' and stitch without the subjectile ever complaining through father or through mother3 The subGectile fi!ures the %ther" or rather the %ther havin! beco e the adverse party" the opposed supposed" the place as a carrier of all the instru ents" succubi and incubi" 2* representatives of all the representatives of the rape to counterco and3 This is confir ed at once in what" by artifice" we would distin!uish as the picto!raphic practice of Artaud and in his discourseB the three ti es when he na es the subGectilian Thin!3 That the Thin! ?? which is above all not a thin! for hypostasis ?should betray" that it should be" in its very Ibotchin!"I what he ust I!ive life and eFistenceI to" that is what was clearly shown3 =ut that eans at the sa e ti e that before bein! a place of birth" lyin!?in or !enesis" the theater of abortions or of new bodies to co e" the Thin! can solidify the powers of death" the subGect of !od" the instru ents of cri e" the obGects and toys of a alpractice3 Attac/ed insofar as it offers the hospitality of its bed to the instru ents and the succubi" it ust be cared for" prepared" repaired" prepared insofar as it bears or supports the in?born still to be born3 #ife and death at once" a fa ily without a fa ily3 &ubGected to the force of evil" announcin! the devil" da nin! and da ned" thus obscene" uncontrolled and unbearable" it ust be in its turn reduced by the other force" subGected to a counterforce3 And this aw/ward adroit forcin! is destined to have the in?born born" and if it is necessary" with a forceps3 I3 3 3 without the subGectile ever co plainin! throu!h father or throu!h other3I Kow should we understand these last wordsL Kow to understand this silence or this utis " because these words describe a subGectile closed up in that very thin!" in the very fact that it is not sayin! anythin!" in the obstinacy of not showin!L It reveals nothin! of what it is feelin!" sufferin!" bearin!" it does not answer to what affects it" nor about what happens to it3 =ut perhaps it feels nothin!" perhaps it has nothin! to bear or to suffer3 It does not co plainB that can ean that it bears thin!s in silence3 Passion" artyrdo " and torture of the subGectile3 =ut that can ean that at botto " at the botto without botto of thin!s that it is" it has nothing to complain about3 It is not so badly treated3 Perhaps it is ta/in! its pleasure in silence3 %n the whole" this subGectile subGects itself to the sur!ery it is subGected toB the subGectile is this" that" that a!ain" and me3 And let<s not hesitate to say itB the subGectile is all that and Antonin Artaud3 And e3 And as all that holds to!ether Iunder y hand"I the sur!ery rese bles a anual de iur!e at once a!!ressive and repairin!" urderous and lovin!3 The Thin! is reconstituted" the cicatriNation co es to it fro the very !esture that wounds it3 =ut let<s be careful" it isn<t about the subGectile" not about itself" not i ediately that we were supposed to be spea/in! here3 The co plaint would arise" if there were to be one" Ithrou!h father or throu!h other3I Intercessors" ediators" representatives" actors" fetishesL And oreover the subGectile is always spo/en of by interposed Ifi!ures3I ;hat is /eepin! silentL ;hat didn<t say anythin!L The fi!ures" Ion the inert pa!eI and Iunder y hand3I I a stressin! sur and sous3 As for the subGectile" it stretches out under the fi!ures which are thrown upon it to be sub itted there to the furious sur!ery 5Iprobe" cut" scrape" file" sew" unsew" shred" slash" and stitch 3 3 3I6" furious as we saw with adness but also with a orous passion3 The fi!ures are not sayin! anythin!" nor the inert pa!e" and the only co plainant is Artaud3 Mute and

apparently inani ate" the fi!ures see however to summon all the blows" Ithey were offerin! the selves to e"I but they call then without inspirin! the drawin!" without havin! the breath or the spirit co e3 Inert illstones" lifeless" soft" detu escent" if we thin/ about what associates the illstone to the unfor ed and inor!anic heap" to the pile of ve!etal substance heaped to!ether 5wood" straw" the illstone of anure" etc363 =ut a!ain illstones" Gust as ute and inert" whose abrasive atter" a cylinder of stone or etal" even a olar" beco es a body suited for rubbin!" sharpenin!" scrapin!" wearin! out3 And the paper of the Iinert pa!eI would then rese ble sandpaper a!ainst which a pointed pencil would have to sharpen itself" but also to whittle itself down3 #et<s leave this illstone word 5a word is a illstone6 with its for al or se antic associations3 #et<s Gust be aware that it frequently appears under the pencil of Artaud ?? who loves it then and cultivates a word" for eFa ple IsubGectile"I in order to spea/ rather ill of the thin!3 The fi!ures" then" and not the subGectile itself" if at least so ethin! li/e that eFisted3 The subGectile is never literally what it is3 ;e always spea/ of it by fi!ures3 Mou perhaps are thin/in! that" forcin! +> the thin! a little" I have been tellin! you the story of the subGectile for a lon! ti e" and its calvary in short" with its three stations3 4o" the subGectile has no history3 It is what has no history" even if its na e has one" for it never eFists under that na e3 It is in any case what is made for' destined to have no history3 The history" others would say the yth" only recites its tropes" and the inter inable per utation of its fi!ures3 These are Ithe fi!ures 3 3 3I that II could 3 33I3 That I could have whatL #et<s be satisfied" finally" with this re ar/3 ;hat I could" yself" always has the double value" double and nondialectic" of an operation3 A sur!ical operation" we have seen" a wor/ of the hand and of man%s hand3 An arith etical ultiple operation 5to add and ultiply in subtractin!" to a/e lar!er by destroyin!63 An operation that works" when everythin! is ta/en into account" across the a bivalence of the !esture" leavin! the artyred witness of an opusB there re ains the trace of an operation that could have !otten carried away itself" and been driven ad3 ;hat is outside of sense re ains3 $ach !esture" and first of all each verb" has this double value3 ,o probe! 5)6 The probin! instru ent wor/s by penetration" it plu bs the depths" perforatin! the surface and passin! throu!h to the other side3 II could probe 3 3 3I eans thenB I could a/e the ost inti ate of oves" by trans!ressin! a li it" under the s/in" once the epider is was pierced3 The ele ent throu!h which an underwater probe delves is liquid li/e the sea ?? the I other watersI ?? offerin! little resistance to the probin! tool3 It can sin/ down li/e a mine" ready to incise a stro/e with a pencil lead 8mine9 or to eFplode3 =ut I could also probe a terrain as if to reach so e ore" and this leads to the other sense of the probe" inclined less to the a!!ressive or trans!ressive intrusion than to the desire for truth3 5@6 I could probe to try to find out" to discover the truth under the subGectile" behind the veil or the screen3 I could with the point of a lead instru ent try to learn" to decipher the si!n or the sy pto of a truth3 The soundin! probe prepares the dia!nosis li/e this3 To probe the fi!ures at the

o ent when Ithey offered the selves"I by refusin! or eFposin! the inertia of a sic/ body" is to prepare oneself to treat the for their !ood" startin! with their own truth3 ,o cut! 5)6 II could 3 3 3 cutI the fi!ures by woundin! the " I was certainly able to notch and !ash the " slice and incise the " cut the up" hac/ the to pieces3 ;ith scalpel" scissors" shears" /nives" needle tips" or feathersB cut" notch" di inution" castration3 =ut to cut 5@6 is also to re!enerate" to stren!then by lopin! off everythin! restrainin! the !rowth" to prune" thin" cut bac/" reGuvenate" render stren!th to a tree or a e ber" in short" to save" physically or sy bolically" to co e to the aide of a subGect or an obGect3 To enable it" li/e physis" to !row and spread out in its truth" revealin! itself as it !rows3 ,o scrape! 5)6 II could 3 3 3 scrape Ibecause I could irritate the surface" attac/ by rubbin! with the aid of an instru ent at the very tip of the hand" and this could be the nail3 In scrapin! I ris/ woundin!" I cause the loss of the substance to the body about which I a spea/in! li/e this3 I hold it a!ainst the s/in3 =ut 5@6 in scrapin!" I purify" I appease" I efface what is written to write a!ain3 #i/e the copyists of the Middle A!es" I flatten the parch ent" usin! an instru ent that at once polishes" prepares" and scrapes the surface upon which new inscriptions" which I a Iscrapin!I also" could tell the truth" unless the layin! bare of the support or of the subGectile by the scrapin! itself does not yet constitute the operation of truth3 In brief" by scrapin!" I can also save the subGectile in its truth" accede to the other surface as it is hidden" asphyFiated" interred under the deposit3 ,o file! 5)6 II could 3 3 3 file"I break into the fi!ure in yet another way3 &till by rubbin!" to be sure" and scrapin!" but this ti e accordin! to the obliqueness of the etal teeth" olars a!ainst illstones3 =ut 5@6 the a!!ression which thus reduces the surface is destined to polish" a/e delicate" adGust" infor " beautify" still save the truth of the body in strainin! it" purifyin! it" re ovin! fro it any uncleanness and useless eFcrescences3 The ta/in! away of the unclean has the virtue of layin! bare and of catharsis3 ,o sew! 5)6 II could 3 3 3 sew"I and for that I have to pierce with a needle or a pointed lead" perforate" penetrate" a/e holes in the s/in of the fi!ure" but I can sew" 5@6 and even suture and scar" in order to close the wound that I open in sewin!3 I pass the thread throu!h to repair" !ather" have the fabrics hold to!ether: I adGust the piece of clothin! which" coverin! the surface of the body" weds it in its natural for " reveals it by coverin! it3 The truth a!ain3 ,o unsew! 5)6 II could 3 3 3 unsew"I un a/e" do the precedin! operation in reverse" but it was already the reverse of itself3 The lin/ itself" li/e the lin/ between these two operations that consist precisely in a certain treat ent of lin/in! and unlin/in!" the obli!ation of this li!ature is a double bind" a double conGuncture3 Cor" 5@6 to unsew is also to undress" a!ain to lay bare the body under the surface or the surface of the s/in under the clothin!" or the flesh under the s/in3 7nder the act of war 5surreptitiously recalled by the act of unsewing6" to unsew can a!ain serve or save the truth" the truth of the body proper3 Cor Ithe bein!s have never had any body of their own and that is what I have always drummed into the 3I +)

,o shred! 5)6 II can 3 3 3 shred"I durin! the sa e test of force and desire" that is" cut into pieces" into tatters or shreds" slash" hac/" wound" utilate the body with a cuttin! instru ent3 It<s so eti es the aladroit !esture of a sur!eon3 -hredded linen also na es the old cloth 5teFtile is always" alon! with paper" the best paradi! of the subGectile6 fro which threads are ta/en to a/e banda!es" !enerally in wars3 The act of war would be perhaps purely a!!ressive and devoid of any repairin! counterpart without this virtual allusion to the act of banda!in!3 =ut the verb to shred is cau!ht here" one i!ht say" sewn" into the braid of the last three 5to shred" to slash" and to stitch63 The !ra ar of and sews to!ether the two first verbs 8charper' dchi:ueter9 which say in ch the tearin! apart of the flesh 5shred" slash6 and the third" stitch" which co es i ediately to put in the suture points in order to prepare the scar tissue3 ,o stitch shares in fact its a bivalence with to sew 5to pierce throu!h but also to have the tissues hold to!ether" whether s/in" fabric" or flesh6 but adds its own3 Certain dictionaries only !ive this verb a past participle" stitched" which corresponds in fact to the ost frequent usa!e" if not to the only !ra atical possibility effectively used3 Kavin! recourse to the infinitive" a possibility entioned in the #ittr dictionary" Artaud invents or discovers a rare usa!e in order to stress an activity" a labor" an ea!erness3 To occupy oneself with stitchin! is never to cease covering with scars3 Cor such is the sense of this verb that only relates sewin! and stitchin! to the flesh3 To have the body stitched is to be able to show it covered with traces" the scars of blows and wounds3 =ut Ito cover with scarsI ay ean at the sa e ti e to ultiply the blows and wounds and the !estures of reparation" sutures" and banda!es which belon! to the o ent of scarrin!3 &ur!ery does both" successively or si ultaneously3 It operates here" let<s not for!et it" upon the fi!ures that are cut out in relief a!ainst the !round of the subGectile" in the subGectile itself but without !ettin! confused with it3 It will always re ain withdrawn3 It<s a !round without !round3 It eFasperates the ea!erness of the sur!eon before such an inaccessible bac/!round behind his fi!ures" fi!ures that are his but that are not proper to hi 3 In this indeter inate !round" the subGectile neither lets itself be ta/en" nor fi!ured" nor deter ined" it does not let itself be terminated3 It is in?finite but" insofar as it is indeter inate atter" it is a Ibad infinite"I as Ke!el would have said" a ne!ative infinite" an indefinite3 A bad infinite" Artaud i!ht translate" a shady indefinite" obscene and wor/ed over by the forces of evil that it represents" inhabited by fiends and by the succubi that it makes banal under its neutral surface3 It never appears itself" only by interposed fi!ures3 &urreptitiously" a place where everythin! appears" itself it disappears under the pheno ena" it<s the thin! in itself or a!ain the transcendental obGect b X ta/in! the relay of the khora3 4e!ative theolo!y3 Heally no atter what" the no atter what as a bad infinite3 ;e have then to finish with it" to deter ine it so as to finish3 ;e have to have done with the subGectile3 And" for that" to deter ine it" to analy+e it in a/in! it co e out of itself3 #et it finally beco e so ethin! or so eone` #et it bear its na e" its own na e` ;e have to have done with the Gud! ent of the !od of all the ne!ative theolo!ies" and to end it with its own hands3 &ur!ically" picto!raphically3 =ut what are they doing here" and who are these fi!ures of Ifather or otherIL ;hy does all this a bivalent anipulation endure Iwithout the subGectile ever co plainin! throu!h father or throu!h otherIL The response to this question should obiliNe the whole corpus of Antonin Artaud" in particular but not only Artaud le .Rmo and L%#&cration du 5Fre.Fre 5teFt and drawin!6 which date fro the sa e epoch3 (ery arbitrarily or for reasons of econo y 5it<s a atter of econo y" of hearth" of the

fa ily ho e and the law of the oikos6 we will /eep ourselves fro wonderin! what IfatherI and I otherI mean here3 +@ All the ore since precisely the fi!ures are sayin! nothin!3 Throu!h the the subGectile never co plains3 It never co plains about itself3 ;hich can mean 8vouloir dire9 that" subGected to this a orous a!!ression" to this urderous and reparative sur!ery" it suffers in silence" it has the stren!th" this support able to suffer everythin! without co plainin!" it<s a stoic subGectile3 7nless" as an i passive support" indifferent to all the fi!ures that are cut out in relief within it" upon its very !round" it does not suffer in the sli!htest3 And it has nothin! to say" nothin! to say over a!ain3 It wants to say nothin!" it eans nothin! 8veut rien dire93 An ineFhaustible !round of everythin! that is said or drawn" it has nothin! to say itself3 7nless a!ain" a third hypothesis" it is ta/in! its pleasure fro all this in silence` If it never co plains" it eans it has nothin! to co plain about` Manipulation causes it to ta/e its pleasure silently" but ecstatically3 The or!as of the subGectile would attain its ac e at the o ent of the utero?phallic birth" Gust as uch as in the unbearable coitus of the father? other3 It takes pleasure and gives birth at the sa e ti e" so any reasons for not co plainin!3 If it ta/es its pleasure" it<s because of havin! been first seduced3 All the a!!ressive aneuvers 5probin!" cuttin!" scrapin!" filin!" and so on6 were also" we have Gust verified it" so any scenes of love and of reconciliation 5preparin!" repairin!" /nottin! bac/ up" !atherin!" erectin!" causin! to bleed" scarrin!" and so on63 The ultiplication of advances" the frenNied sur!ery" the frenetic ea!erness of a hand that Gubilates" all these always find stren!th and otion to !o further" and this drivin! ad and out of sense has to do with the structure" let us say rather with the catastrophe" of the subGectileB this !round with no !round necessarily provo/es the contradictory !esture" leads to the ost inco patible relationship" thus the ost reversible and reversin!" that with itself3 It ust be at once seduced and traversed" inflamed by the caress and perforated" in short" soft ened 8amadou93 Amadou" this substance whose Proven_al na e desi!nates the a orous behavior of the a ador" is used to rub and caress3 Hubbin! and caressin! in order to infla e is done with the help of a colored substance /nown for its facility to set fire3 To soften with amadouB to appease" do esticate" flatten" ta e the other" seduce or win over the ene y by caressin!" but also to burn hi " infla e hi " set fire to hi 3 This is eFactly what Artaud did with the subGectile and so eti es literally when he left those holes of fire in the pa!e3 +D Those were working3 The crater a/es the wor/3

It ta/es pleasure and !ives birth" as we were sayin!3 The i possible history of the subGectile will have been ta/en in the bed of birthin! in all its layers 8dans des couches' et des couches des couches93 5Kow will they translate these wordsL6 There are first the stratified layers" the abyssal series of sedi entations3 ;e are supposin! the subGectile capable of supportin! several layers of paintin!s" but we have quic/ly seen that under these superficial layers a !roundless !round withdrew behind the surface" beco in! a fi!ure in its turn" and so on ad infinitu 3 There is always ore than one layer as soon as a subGectile lies so ewhere3 And several possible

supports3 ;hat would Artaud have said" wouldn<t he have said" of the Inew supportsIL and of synthetic voicesL There is then the bed of the subGectile 5we also spea/ of a bed in !eolo!ical code6" the bed that stretches out under the bodies" for sleep or for love" the cubile or cubitum" the couch" the nuptial bed" the bedroo " nest" niche" an ani al lair3 These beds have privile!ed hosts or parasites" the incubi and the succubi3 Then there are the diapers of the newborn 5a subGectile is not only a place and a birthin! bed" a clinic" a maternity ward" it is also a self" and myself" the newborn63 The diapers then fi!ure this thic/ness of cloth" fabric" and paper which rese ble linens for banda!es: they so eti es let throu!h the eFcre ents that they ou!ht however to !ather or retain" liquid" solid" and se i?liquid3 They envelop both the anal and !enital parts of a baby for who the birth of art consists in this i pre!nation of the subGectile3 ;hether he is standin! or lyin! down" whether he is wal/in! or sleepin!" a subGectile is under him" a receptacle of the ost a!!ressive or the ost precious deposits3 =ut first there were the labor pains of !ivin! birth" whether false or real3 The Isufferin! of the prenatalI and !ivin! birth to the Iin?born"I or the innate3 All these birth thin!s are at once a place and an event with a date" a ta/in!?place for which the subGectile would furnish the theater if it didn<t re ain so invisible3 The subGectile bears all these birth thin!s" in !estation and then to ter 3 There is always one ore layer to a birth 8une couche de plus93

The layers of sense in the word couches do not let the selves be wholly su ed up in the syste atic unity of a terrain" they have no final support upon which to rest in an orderly fashion3 They for no sense" whence the outside?of?sense" the unsensin!3 ;e could say as uch of subGectiles3 4othin! is hatching which is one under the subGectileB not even itself3 Perhaps a ti e of incubation" that is all3 &o there is no sense" and that is what drives us ad" as/in!B who is the subGectileL And as it re ains a stran!er to the space of representation which however invests it and institutes it" consolidatin! it in its technical support" it would not be able to let itself be represented by father" other" son" dau!hter" or yself3 And yet it wills itself and dele!ates itself in all these fi!ures3 Cor Artaud" as for e" it has a na e" so e na es" and yet it necessarily retires into the without?na e3 It re ains thus between sense and nonsense" outside of sense3 The subGectility of the subGectile su ons these two contradictory proGects3 The story that I have pretended to recount" a certain ti e of incubation between )*D@ and )*12" for the word as uch as for the thin!" for s only the testin! !round for a wall between these two proG ects" !estures" or !estations3 =etween these two adverse tensions3 Adversely" they provo/e the addenin!" drivin! eanin! to adness3 =ut insofar as they balance out" offer a place to the birthin! and its traces" interrupting the fire" they will have ade a wor/ ?? and /ept the subGectile softened3 An instantaneous !rasp" an institution" disastrous but subli e" of a for idable precipitation of stren!th3 It was necessary to perforate" to throw" to throw oneself a!ainst the subGectile with all one<s stren!th" to beco e a proGectile and see oneself on the side of the tar!et" already on the other side" and fro the other side of the wall that I also a 3 I traverse the e brane" and y own s/in3 I a cast before even bein! able to cast" into birth3

=ut I do not traverse" or in doin! so" I /eep the trace of a traversal" even if the trace is in its turn subGected or pro ised to the traGectory that it recalls" which in truth it calls3 And tries to !ather into the si!nature of its proper na e3 It tries to introGect itself literally there3 This arrest of the Gourney a/es a wor/3 I understand the arrest as the sentence that a/es the law" in the na e of Artaud" and as the interruption of a thrust" the tonic i obiliNation of a would?be lancer3 =oth !ivin! birth to chance3 The s/etch of a spurt" what is thrown on the paper all at once" a/es what the subGectile is !uardin! appear ?? superficial and fra!ile" to be sure" nonsubstantial and inconsistent3 =ut this phenomenon" what you see here" the color" the dar/ li!ht of the stro/e" the traces of burnin!" the enthusias of the plu b line" all constitute the subGectile which otherwise would be nothin!" especially not the support of a si!nature" the tortured body of a na e3 Arrested on the very surface" the proGectile ishandles the support with all the phanto s that haunt it" those !hosts of another history of !od 5I4o" there are no !hosts 3 3 3I6" the spirits in incubation3 =ut with the sa e double blow" it !ives consistency to what it attac/s" incorporatin! it in the wor/" a/in! it part of the eFpression on the path to introGection" retainin! the eFcre ent in the very o ent of its eFpulsion" in eFactly the o ent of separation" that is of the secret3 &o its secret" at once /ept" concealed and yet eFhibited" is won but lost in its eFhibition3 The secret is" as its na e indicates" the separation3 Partition and parturition3 ITen years a!o lan!ua!e left 3 3 3I3 As the Ior!anist of an arrested te pest"I Iit see/s the subli e in everythin! and for everythin!3I =ut the si!natory addsB II have not sinned" but I a I will a/e so eone pay3I Two of these three ne!atives see not responsible3 I will not pay but

added on afterward" loo/ 3 3 3

(otes
)3 I a thin/in! in particular of IRecherche d%un monde perduI 5 ,he -earch for a Lost 4orld6" published in this volu e" and above all of I#ntendre3voir3lireI 5 Kearin!'&eein!'Headin!6" ,el Wuel" no3 D* 5 Call )*,*6 and no3 1> 5;inter )*2>63 &ee also IGotes de travail sur les mots forgs par Antonin Artaud dans ce te&teI 5 ;or/in! 4otes on the ;ords Antonin Artaud Made 7p in This TeFt: a co entary on #a Maladresse seFuelle de dieu6" 5einture3Cahiers thori:ues' no" = (Cnd trimester =?>= < (Lettre 0 8enry)Claude Cousseau sur les dessins d%Antonin Artaud( ( Letter to 8enry)Claude Cousseau about the $rawings of Antonin Artaud ' Cahiers de l%Abbaye -ainteCroi&' no" @> ( =?HL < ($essin 0 regarder de traviole( ( $rawing to 1e Looked at -ideways ' Caf' no" @ ( Fall =?H@ < catalogue of the e&hibition (#critures dans la peinture( (4ritings in 5ainting ' Centre national des arts plasti:ues' ;illa Arson' Gice' AprilBune =?HD" @3 (" @213

D3 I$i& ans :ue le langage est parti 3 3 3I 5 Ten Mears A!o #an!ua!e #eft 3 3 36" )*12" Luna)5ark" no3 A 5 %ctober )*2*6" p3 +3 13 I(" D*3 The translation here is fro Antonin Artaud! -elected 4ritings" ed3 &usan &onta! " tr3 Kelen ;eaver 5 4ew Mor/B Carrar" &traus and 0irouF" )*2,6" p3 @D13 A3 Artaud does to the Crench lan!ua!e what he does to the subGectile3 Ke bla es it" scolds it" operates on it" istreats it in order to seduce it" etc3 Cro now on" the reader can translate everythin! concernin! the IsubGectileI in ICrench"I by Ithe Crench lan!ua!eI said to be the other ton!ue3 =ut to write against" absolutely a!ainst one<s other ton!ue what you can do best" you still have to leave it" rest in it" bet on it" leave it also for the necessary departure and separationB 4e have to van:uish French without leaving it' 3 For AL years it has held me in its tongue" 3 Gow * have another tongue under TsicU tree3 ,o manage that' 3 starting with the fact that * am French 3 and in the way that best e&presses my present force of will' actual' immediate' human' authoritarian' 3 and correct 3 for no matter what is me' my way of doing it is not that of a being" 3 *t will always be me speaking a foreign language with an always recogni+able accent3 ;e will verify it later" you have to repair the sic/ body" a/e it as new" really" ta/e it bac/ to the very be!innin! as an e!!" have it born a!ain3 And that will be true for the subGectile as uch as for CrenchB As for French' it makes you sick' 3 it is the sickest' 3 with a sickness' tiredness' 3 that makes you believe that you are French' 3 that is to say' finished' 3 a person finished3 And at the o ent of translatin!" precisely" what he eans 5Iit translates quite eFactly what I eanI6 spea/in! of what" we will see" inhabits or haunts the subGectile" that is" the fiend" Artaud writesB IIt<s the basis of the Ha ayana not to /now what the soul is ade of" but to find that it is and always was ade of so ethin! which was before" and I don<t /now if in Crench the word Ir anenceI eFists" but it translates quite eFactly what I ean" that the soul is a fiend 8suppRrt9" not a deposit 8dpRt9 but a suppRt" which always pic/s itself up and rises fro what for erly wanted to subsist" I would li/e to say to re ain 8rmaner9" to dwell in order to re ain" to e anate in /eepin! everythin! else" to be the else which is !oin! to co e bac/ up3I 5TeFts quoted by Thvenin" in I#ntendre3voir3lire"I ,el Wuel" no3 1>" p3 2@" and no3 D*" pp3 AA" A2" A+36 ,3 Martin Keide!!er" 7nterwe!s Nur &prache 5 %n the ;ay to #an!ua!e: Pfullin!enB 4es/e" )*A*6" p3 AD3 The traGectory 5as well as the spurt or the ?Gect of a proGectile6" in other words the path 5sent" set6 of the forcUne ent" is what we will try to follow here a on! a nu ber of lan!ua!es3 23 XIII" 1@?1D: translation fro +3 XIII" 1D?11: translation fro Antonin ArtaudB &elected ;ritin!s" p3 1**3 Antonin ArtaudB &elected ;ritin!s" p3 A>>3

*3 IThey have dipped e three ti es in the waters of the Cocytus ' and protectin! all alone" alone in y obstinate bein!ness" ' and protectin! y other A alecytus all alone" ' and why now A alecytus this other of an obstinate AnterosLI 5Yuoted by Paule Thvenin" I$ntendre'voir' lire"I Tel Yuel" no3 D*" p3 D@3 My e phasis36 )>3 II" @>13 ))3 XI(" )DA3 )@3 XI" @>3 )D3 XIII" D*: translation fro Antonin ArtaudB &elected ;ritin!s" pp3 1*2?1*+3 Antonin ArtaudB

)13 #etter of van 0o!h" quoted by Artaud" XIII" 1>: translation fro &elected ;ritin!s" p3 1*+3 )A3 XXI" @,A3 ),3 XXI" @,,3 )23 IX" )2)3 )+3 XXI" @,23 )*3 XX" )2>3 @>3 XIII" @+: translation fro @)3 I(" 1D3 My e phasis3

Antonin ArtaudB &elected ;ritin!s" p3 1*>3

@@3 I(" D,?D2: translation fro Antonin ArtaudB &elected ;ritin!s" p3 @D@3 I have stressed Ibein! proGectedI and Ibeneath lan!ua!e3I @D3 (" *>: translation fro e phasis3 @13 I(" D2" D*3 @A3 The theater loses its power when it separates itself fro a certain picto!raphy3 IThe idea of the theater no lon!er holds the brilliance" the bitin! quality" this feelin! of a unique thin!" unheard of" inte!ral" that certain written or painted ideas still /eep3I And still in the ThPtre Alfred JarryB IThe ThPtre Jarry was created as a reaction a!ainst the total freedo that eFists in usic" poetry" or paintin!" and which it has been stran!ely cut off fro until nowI 5II" )*" 12?1+63 @,3 I(" D@: translation fro @23 I(" D1: translation fro @+3 I(" DA: translation fro Antonin ArtaudB &elected ;ritin!s" p3 @@+3 Antonin ArtaudB &elected ;ritin!s" p3 @D>3 Antonin ArtaudB &elected ;ritin!s" p3 @D>3 Antonin ArtaudB &elected ;ritin!s" pp3 D>>?D>)3 My

@*3 I(" DD?D1: translation fro e phasis3

Antonin ArtaudB &elected ;ritin!s" p3 @@*3 My

D>3 T(" 11?1A: translation fro Antonin ArtaudB &elected ;ritin!s" p3 @D*3 IIncantationI is the only word stressed by Artaud3 D)3 I(" 1A3 D@3 XIII" @+: translation fro DD3 XIII" 1,: translation fro D13 XIII" 12: translation fro DA3 XIII" 1,: translation fro e phasis3 Antonin ArtaudB &elected ;ritin!s" p3 1*>3 Antonin ArtaudB &elected ;ritin!s" pp3 A>)?A>@3 Antonin ArtaudB &elected ;ritin!s" p3 A>@3 Antonin ArtaudB &elected ;ritin!s" p3 A>@3 My Antonin ArtaudB &elected ;ritin!s" p3 A>@3

D,3 XIII" 1,?12: translation fro D23 XI(" @,3 D+3 XI(" A23 My e phasis3 D*3 I(" ))?)@3 My e phasis3 1>3 X(III" 2A3 My e phasis3 1)3 XI(" )1,?)123 My e phasis3 1@3 XI(" )123 1D3 Ibid3 113 XIII" 1+: translation fro

Antonin ArtaudB &elected ;ritin!s" p3 A>D3 Antonin ArtaudB &elected ;ritin!s" p3 A>13 Antonin ArtaudB &elected ;ritin!s" pp3 A>1?A>A3

1A3 XIII" 1+?1*: translation fro 1,3 XIII" A>?A): translation fro 123 X(III" 2A3 1+3 IX" @@?@D3 1*3 XI(" @D3 A>3 (III" @A23

A)3 (III" @A," @,>3 My e phasis3 A@3 (III" @AD3

AD3 II" @)*?@@>3 A13 II" @,13 AA3 II" @@D3 A,3 II" @@>3 A23 I" )1,?)A>3 A+3 A on! other otifs" we should follow in this teFt" eFe plary in so any ways" all the fi!ures of what I shall call" briefly" the scene of the subGectile 5the issile or the proGectile" the barrier" the pa!e and the division" the wall" and so on" but also the fire of the s/y" wo an" fiends" the succubus" the witch" etc36 Cor eFa pleB 3 3 3 a volley of arrows shot fro below the canvas3 As in the branches of y ind" there is this barrier of a body and a seF which is there" li/e a pa!e torn out" li/e a bit of flesh uprooted" li/e the openin! of a li!htnin! flash and thunder upon the s ooth walls of the fir a ent3 ' =ut elsewhere there is that wo an seen fro behind who represents quite clearly the conventional silhouette of the witch3 3 3 3 Are there so any thin!s in this canvasL There is the force of a fiFated drea 3 3 3 3 A !reat heap and a !reat fart3 3 3 3 After so any deductions and failures" after all these cadavers ta/en down" after the warnin!s of the blac/ clubs" after the banners of the witches" after this cry fro a outh in the botto less fall" after I have /noc/ed up a!ainst walls" after this whirlwind of constellations" this tan!lin! of roots and hair" I a still not so disillusioned that this eFperience is weanin! e3 #et<s not for!et that I#<Auto ate personnelI describes a portrait of Artaud by Jean de =osschUre 5I" )1,ff36 A*3 XX" D1>3 ,>3 XXI" @,,?@,23 ,)3 XI(" 22" letter of Cebruary )@" )*1," to Kenri Tho as3 ,@3 I#e Dernier aspect du &alonI 5 The #ast 0li pse of the &alon6 5 II" @1*63 The whole teFt ar!ues a!ainst technique" ost of all that of drawin!3 Cor instanceB I;e would see/ in vain any ention of color3 &uffice it to say that a depressin! unifor ity in fabrication reduces ost of the canvases to the sa e /ind of s/ill and procedure as the ind of cubis petrifies3 ;e aren<t spared even the postcard !enre" li/e so e spot of old ud a id the freedo of the other canvases3I It is obvious that usic" anythin! with sound" is only heard in color" not in drawin!3 ,D3 ;e have to suppose here" since we cannot quote the in entirety" that the reader has read the IInterGections"I in I&upp\ts et suppliciationsI 5XI(63 Althou!h each pa!e see s to e to bear out what I have called y wor/in! hypothesis" I shall Gust indicate so e of the B @D" @,?DD" D*" 1," ,>" ,A" ,*" )@+" )@*" )DA" )12" @>1" @>A3

,13 IDiF ans que le lan!a!e est parti 3 3 3"I p3 *3 ,A3 XX" )2D3 ,,3 XX" )2@3 ,23 XX" )2>?)2)3 ,+3 XX" )2D3 ,*3 IDiF ans que le lan!a!e est parti 3 3 c 3 ICo!ne et foutreI 5 Kit and Cuc/6 5 XI(" @,?D>6 stri/es out a!ainst the Iwritten letter"I that is" the letter inscribed in the word" subGected to the discursive proposition and its lo!ico!ra atical nor sB The words I use were passed on to e" and I use the " but not in order to be understood3 3 3 3 Precisely I don<t use the " ' in reality I don<t do anythin! eFcept re ain silent3 3 3 I don<t use any words and I don<t even use letters3 3 3 3 Cor thirty years that I have been writin! I haven<t yet quite found ' either y speech or y lan!ua!e" ' but the instru ent that I haven<t ceased to for!e3 Cindin! yself an illiterate" this instru ent will not ta/e its support on letters or the si!ns of the alphabet" we<re still too near to fi!ured convention in that" and an ocular and auditory one3 The rest of the teFt analyNes this Ifi!ured convention"I the one that Ilin/edI I eanin!"I Ithou!ht"I and the Ifor ally written talesIB it consists still now in IproGectin!3I The IproGectionI ta/es place upon the Iwalls of an i ense brainIB IA character is an out oded ove ent that co es yet once a!ain to proGect the fuc/in! of a last phosphorous" ' and soon all the words will have been read" ' all the letters co pletely eFhausted3I 2>3 XIX" @A*3 This has to do with the Dessin W re!arder de traviole3 2)3 Ibid3 My e phasis3 2@3 %n the relationship between these letters 5H" T6 and the na e of Artaud" I refer the reader a!ain to ThUvenin 5 I$ntendre'voir'lire"I Tel Yuel" no3 1>" especially p3 +*63 2D3 XIX" @A*3 213 XI(" ,>3 2A3 Cor a readin! of this ra" !ra ar of the future and clearin! of the throat" a se antic ra ification and a frenNied death rattle" we would have to brin! to!ether all the ra<s and all the rats of Artaud" startin! with those to be heard in his own na eB Ar?Tau3 As one eFa ple in a thousand" in IPour en finir avec le Gu!e ent de dieu 5#a Hecherche de la fcalit6I 5 To Kave Done with the Jud! ent of 0od 8In &earch of Cecality96B ;here you s ell shit ' you s ell bein! 3 3 3 an has been afraid to lose his shit ' or rather he has desired shit ' and for it" lost his blood3 3 3 3 Then he retreated and fled3 Thereupon the beasts ate hi 3 3 3 3 Ke developed a taste for that" ' and tau!ht hi self ' to be a beast ' and to eat rat delicately3 ' And where did he !et this abGect filthinessL

I e phasiNe these last words3 The filthiness lies in his bein! hi self" by a stran!e perversion" by a forced inversion of the literal eanin!" the an who ate the rat he beca e when the beasts ate hi 3 A #ast &upper of the na e3 Ke too/ part in the repast durin! which he was hi self consu ed li/e a rat3 Ke Ideveloped a taste for itI in that he swallowed the word or the na e rat" the sound ra in which his na e was first inverted" precipitated head first into his outh" and also in the ton!ue" the anus" or the testicles3 In!ested" incorporated or introGected3 &uch was the sta!e of the subGectile" in truth" its arrestB IThat co es fro the fact that an" ' one fine day" ' arrested 8 Artaud underlines arrested" he arrests hi self on that point9 ' the idea of the world3 3 3 3 There where you only have to press ' the rat ' the ton!ue" ' the anus ' the testicle3 3 3 3 I renounce baptis and the ass3I 5XIII" +D?+,36 Another pa!e" in I&upp\ts et suppliciations"I ore eFactly in the IInterGectionsIB I y body ' in the future ' will be 3 3 3 a race of dopes that I revo/ed 3 3 3 and that<s where rain" spittle" ' co e fro " ' fro the first spittle of rat !odI 5XI(" )263 Inserted in a drawin!" the syllable ra is also circled with a stro/e" then ultiplied in rabut" tarrabut" rarfa" ratura" rarina" arera" and so on3 &uch is the art of Antonin Artaud" always beyond Art or a!ainst the Cine Arts3 2,3 XIX" @,>3 223 XII" 22: translation fro Antonin Artaud B &elected ;ritin!s" p3 A1>3

2+3 This absolute preoccupation institutes" throws out" or hurls forth the subGectile3 It a/es it spea/ already" spea/s its questions and answers for it" lends it all the fi!ures3 And first of all" that of subGection" a fi!ure of thou!ht that consists of interruptin! the adversary 5the one that IbetraysI or who could Ico plainI6 and supposin! his response" predictin! what he could say and already a/in! so e response to it3 The other na e of subGection is pre?occupation 8anteoccupation39 IThis fi!ure"I says a dictionary" Ipresents itself often in the for of dialo!is 3I 2*3 The sa e teFt" quoted above by Paule Thvenin" so ehow forces the succubus to reco!niNe itself as the a!ent" the subGect of a verb 5succuber" that we associate" a on! other thin!s" with succu ber as uch as with sucer" as if the fe inine succubus were to va piriNe us unto death63 ^ 8I&upp\ts et suppliciationsI associates on
the sa e pa!e the succubus and the va pireB IIt<s in tryin! not to be !od ' that I a day and ni!ht inundated with the sea of fuc/in! succubi" ' /ept in the !aseous placenta of the se inal liquid of the other?waters 3 3 3 it<s in tryin! not to be !od that I a honored ni!htly by the visits of a hundred thousand va pires" etc3" ' and it<s because y body is good that it is always visited in such detailI 5XI(" )1)63 These Icorporeal suppurationsI 5ibid36 are as aternal 5I other?ocean"I I other?watersI6 as they are paternal 5Ifuc/"I Ise inal liquid3I6 Perhaps the succubus is ore aternal" the fiend paternal" with a subGectile couplin! in short the father? other3 This is the Is/inI and the paternal IfiendIB IIt<s e" Artaud" Antonin" ' fifty years" ' who is doin! it" ' ta/in! the s/in and burstin! it" ' instead of waitin! for his physiolo!ical reestablish ent by a fiend in the sense of the new papa 3 3 3I and ri!ht afterward" there co e up a!ain the notions of ri!ht" s/ill" aw/wardness" punish ent" dressa!e" and co?erectionB IGust so" in the ti e of diNNiness" ' I don<t refer to !od ' in order to have the father<s children stand up strai!ht 3 3 3I 5I$tat civil"I XI(" D@639

As for the verb incuber" Artaud stretches it so ehow toward its ho ony 5he incubuses" the incubus6B The !oal of all these fi!ures drawn and colored was an eForcis of alediction" a bodily vituperation a!ainst the obli!ations of spatial for " of perspective" of easure" of balance" of di ension" and" throu!h this vindictive vituperation" a conde nation of the psychic world encrusted li/e a louse on the physical world that it incubuses or succubuses while clai in! to have for ed it3

&uc/in! what is I!ood"I that is succulent" I y body"I !ettin! a taste for it in their turn" the succubi are actin! underneath" under the cover but probably also by the cunt3 There is a cunt 8cu9 in the word succubus3 The search for fecality ?? in the birthin! and under the cover 8couches9B in bed3 +>3 ;ill I have been forcin! thin!sL Perhaps it will be thou!ht that I have !iven too uch wei!ht to this word the subGectile that Artaud uses only three ti es in all3 &o I would yself have forced the subGectile3 To this su!!estion" I have no other answer than thisB what I a writin! here ?? which clai s to show" on the contrary" a necessity3 4either the absence of forcin! on y part" nor of selection" sortin! out" chance3 =ut first of all no readin!" no interpretation could ever prove its efficacy and its necessity without a certain forcin!3 Mou have to force thin!s3 Then there is the necessity of chance 8le sort9 5with all the fa ilies of words and eanin!s that interweave in it" especially with ArtaudB sort" sortilU!e" sorcier" sortir68chance but also spell" sortile!e" sorcerer or witch" to leave9" and of the spell you /now is also cast" and conGured up" as well as the necessity of the forca!e which for!es and perforates3 These two necessities are thou!ht out" posed" the atiNed by Artaud3 I have tried to show this Gust about everywhere" but in particular in the teFt of Cebruary )*12 which we are readin! and which na es the subGectile3 The word force appears there five ti es in one pa!e" spea/in! of y Iterrible rserve de forcesI 8terrible reserve of stren!th9" y Iterrible arsenal de forcesI 8terrible arsenal of forces9" and y Iar es for!esI 8for!ed weapons9" and Ila force od elles puisent c<est oiI 8the stren!th in which they dip is yself9" Ila force qui ne se voit Ga ais et qui est corpsI 8the stren!th which never sees itself and which is the body93 And then Ice for_a!e d<od est venu le pre ier courantI 8this forcin! fro which the first current ca e93 At the end of the sa e teFtB I3 3 3 the inside that for s the cri e 3 3 3 the fetus is the fat thin! that ca e out of the hollow underneath 3 3 3I3 +)3 XI(" )@*3 +@3 A on! so any other eFa ples" I will choose these" for obvious reasonsB the undissociation of the father other" the utero?phallic nature of the birth" the search for fecality" the anal eFpression or eFpulsion ?? and the word forcen ?? are !athered in the sa e spurt of sentenceB IThe uterine other?father of an anal unsensin! 8forcen9" which" by force of lovin! in itself its own power of aternality" draws forth a soul fro it" which re e bers havin! been eternally lovedI 5X(III" )2@63 Most of the otifs we are dealin! with here find the selves drawn into this teFt" a teFt of ItranceI but I=efore the trance there is a editation of anal incubation 3 3 3I3 Another eFa pleB 4ow 3 3 3 that this unavowable ar y of succubi and incubi ar ed only with their hatred a!ainst anythin! that re ains in e of an unused senti entality3 3 3 3 And thus it is that hell was born3 3 3 3 Curther ore the old boF of hu us eFcre ent will co e bac/ when an will have stopped bein! this lowly weasel scratchin! his seF as if he could make the secret of the daddy come out of it' out of the mouth of his own mummy' 3 and daddy)mummy itself will have made way for man' without hieroglyphics and secret keyboard" 3 1ut it will take a lot of blood to make the shit bo& healthy' washed' not with shit' but with love)god" (X*;' =AL)=A= As for the anal eFpulsion accordin! to Artaud" I refer to 0uy Hosolato" I#<$Fpulsion"I 6bli:ues" no3 )>?)) 5 Dece ber )*2,6" pp3 1)ff3

+D3 &till in the sa e teFt of Cebruary )*12B IAnd the faces I ade were spells ?? that I burned with a atch after havin! Gust as eticulously drawn the 3I In one i a!e" you can readB I3 3 3 and I will have the perforated and will burn their arroweI3

OOOOOOOOOOOOOOO )3 As for the IItalianI source" I refer to the letters of 5ontormo to ;archi" edited by Jean?Claude #ebensNteGn in Avant?!uerre" no3 @ 5 )*+)6" pp3 A@?AA3 Kere we readB I&culpture is such a di!nified and eternal thin!" but this eternity has ore to do with the arble quarries of Carrara than with the value of the Artist" because it is a better subGect for that" and this subGect" which is to say" relief3I #ebensNteGn notes here that IsubGect" soggetto" desi!nates the aterial substance of art" its substratu " subGectu " hypokeimenon3II Pontor o<s ar!u ent about the subGect"I he adds" Iwas already present in #eonardo 5without a subGect63 ;e find it a!ain in =ronNino<s letter to (archi 5with a subGect63I This ti e it is Iin piY saldo subbietto3I @3 The very beautiful boo/ that 0eor!es Didi?Kuber an Gust published with the title La 5einture incarn 5 ParisB $ditions de Minuit" )*+A6 calls the subGectile Ithe old notion of the subGectileI and refers to Jean Clay to who Iwe owe its theoretical reestablish entI 5p3 D+63 D3 Paule Thvenin has Gust !iven e a teFt she recently discovered" which Artaud see s to have read3 The word subGectile appears in it three ti es3 It is an article that Tristan ]lin!sor devoted to Pierre =onnard in )*@) 5in L%Amour de l%art @" no3 + 8 Au!ust )*@)96B ,he use of a subjectile so rarely used before' that is' cardboard' facilitates his work" ,he way the cardboard absorbs so readily lets him get rid of the oil colors" " " " *n addition' 5ierre 1onnard' with a seeming negligence' lets this subjectile show through here and there" -ince it is rather warm in nuance' generally golden' it contrasts with the cold tones laid down by the painter and gives them the most e&:uisite finesse" #ven better' it guarantees a general harmony to the work" " " " 6nce the nuances of cardboard have been discovered' the artist will use them in his canvas' he keeps his orchestration in changing the subjectile3

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