Hazel Antaramian Hofman

The fragmentary nature of the aesthetic in Artaud lies in its intensity and trauma. As found in his invented language, recorded utterances, drawings of portraits, hieroglyphic texts, and an irregular cadence of his recorded voice—most of which are exquisitely captured in the Artaud Diptych—this article not only seeks the connection to what is described as forms of “language” and the sublime but also informs the privation communicated in the embodied works of Artaud. As such, Artaud is approached within selected theories of the sublime, presented genealogically and interwoven with praxis, exemplified through the plays of two Greek playwrights, Ioli Andreadi and Aris Asproulis. The performances of Artaud Diptych give us that which embodies an Artaudian engagement with the sublime. The argument herein is that the sublime emanates from various aspects of the writing, imagery, and aural qualities immanent to the Artaudian oeuvre. While Artaud’s venture into theater writing may be considered a failed experiment, this article shows how he achieved a singularity in the self-transformative process (and as an avenue of self-preservation), using language as word, imagery, and sound, as affective agents toward the sublime, ultimately operating within a mode of intersubjectivity. In the translation of his oeuvre toward theater and the audience, we discover the ultimate success of his intersubjective work as performative philosophy, as revealed by the Artaud Diptych by Ioli Andreadi and Aris Asproulis.