ANTONIN ARTAUD:SOUND POETRY LP EXPERIMENTAL-NWW-MAN RAY

	€		40
	$		45

ANTONIN ARTAUD

POUR EN FINIR AVEC LE JUGEMENT DE DIEU LP

INA / La Manufacture 

Legendary recording from Antonin Artaud in a unique radiophonic poem creating a unique form of sound poetry. Art cover by Man Ray.

Some info on the release:  See Broken Music book, page 88. Art cover by Man Ray. Bloody rare original french pressing release on INA (the mother label of INA GRM, which released also the electronic musique concrete records of Pierre Henry, Pierre Schaeffer Guy Reibel, Francois Bernard Mache and of course Luc ferrari, Ivo Malec, Jacques Lejeune and Alain Savouret, Francois Bayle, Jean Schwarz and others) in a coproduction with La Manufacture. A real historical monument from Antonin Artaud, this is his legendary radiophonic poem recorded between 22 & 29 November 1947. This, as you might know was the radio program that lead to the ban of Artaud's program of the radio. It took more than a quarter of a century (in 1973) for this recording to be permitted to surface on the radio (on a radio program of the station France Culture) and finally found its way to the public through this vinyl record produced from INA. Antonin Artaud goes way beyond his age on this recording: violent language, extreme intensity of cries, abstract result. In opposite to what one might imagine, the recording was not improvised in a sort of fever or trance state. Except from Antonin Artaud's voice, you can listen also on this album Roger Blin, Maria Casares and Paule Thevenin. Long before Henri Chopin, Bernard Heidsieck, Lawrence Weiner, John Giorno, William Burroughs or even Otto Muehl. Antonin Artaud delivers a work, which has preceded its' time and space. Fantastic & extremely primitive sound poetry, a really mythical album. Especially for those who like Broken Music style of recordings (John Cage, Bengt Emil Johnson, Arrigo Lora Totino, Anton Bruhin and Radiotaxi).

Antoine Marie Joseph Artaud, better known as Antonin Artaud was a French-Greek playwright, poet, actor and theatre director. Artaud's parents, Euphrasie Nalpas and Antoine-Roi Artaud, were of Greek origin (Smyrna), and he was much affected by this background. In 1925, Artaud effectively took over directing the surrealist movement, writing many of the articles for The Surrealist Revolution and running the Bureau of Surrealist Research, a loose affiliation of surrealists interested in exploring automatic writing, recording dreams and engaging in anything which rejected rationality. After about 18 months he grew increasingly frustrated by what he perceived as the surrealists' unwillingness to do any more than disrupt bourgeois art events and create scandal. They in turn, spearheaded by André Breton who possibly felt his leadership of the movement to be threatened by Artaud's dynamic energy and extreme radical commitment, set about ejecting him from the group after he publicly began to call their revolutionary bluff. In 1926-28, Artaud ran the Alfred Jarry Theater, along with Roger Vitrac. He produced and directed original works by Vitrac, as well as pieces by Claudel and Strindberg. The theatre advertised that they would produce Artaud's play Jet de sang in their 1926-1927 season, but it was never mounted and was not premiered until 40 years later. The Theater was extremely short-lived, but was attended by an enormous range of European artists, including André Gide, Arthur Adamov, and Paul Valéry.

In 1931 Artaud saw Balinese dance performed at the Paris Colonial Exposition. Although he did not fully understand the intentions and ideas behind traditional Balinese performance, it influenced many of his ideas for Theatre. Also during this year, the 'First Manifesto for a Theatre of Cruelty' was published in La Nouvelle Revue Française which would later appear as a chapter in 'The Theatre and Its Double'. In 1935, Artaud's production of his adaptation of Shelley's The Cenci premiered. The Cenci was a commercial failure, although it employed innovative sound effects—including the first theatrical use of the electronic instrument the Ondes Martenot--and had a set designed by Balthus. He recorded Pour en Finir avec le Jugement de dieu [To Have Done With the Judgment of god] between November 22 and November 29, 1947. This work was shelved by Wladimir Porché, the director of the French Radio, the day before its scheduled airing on February 2, 1948. The performance was prohibited partially as a result of its scatological, anti-American, and anti-religious references and pronouncements, but also because of its general randomness, with a cacophony of xylophonic sounds mixed with various percussive elements. While remaining true to his Theater of Cruelty and reducing powerful emotions and expressions into audible sounds, Artaud had utilized various, somewhat alarming cries, screams, grunts, onomatopoeia, and glossolalia. As a result, Fernand Pouey, the director of dramatic and literary broadcasts for French radio, assembled a panel to consider the broadcast of Pour en Finir avec le Jugement de Dieu. Among the approximately 50 artists, writers, musicians, and journalists present for a private listening on February 5, 1948 were Jean Cocteau, Paul Éluard, Raymond Queneau, Jean-Louis Barrault, René Clair, Jean Paulhan, Maurice Nadeau, Georges Auric, Claude Mauriac, and René Char.

Condition: Vinyl lies in very good- condition, is wavy and shows quite a number of marks, nothing deep, but haven't checked how it actually plays. Cover lies also in very good- condition, with extensive corner bending in 3 out of 4 corners, no edge wear, splits or others problems. In general a starter's copy.

Tracklist

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