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Fermata: "Artaud, Sade e Bataille: uma suspensão do pensamento no acto da poiesis"
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As artists, we know that the reasons that lead us in creative processes have no logical foundation. Most decisions taken during artistic praxis are not translatable in thought (in logical phrase structure). They derive from intuitions anchored in the darkest zones of our consciousness. If this is true for formal decisions about object building, it is even more evident when we try to understand the reasons that led us to a particular subject, a process or sheer mechanics. We are driven by drives from unconscious areas, sometimes therapeutic, often involuntary. And it is this same unconsciousness that makes creative processes into cognitive and ontological processes.
The work that I present as an artistic component of the doctorate gives us news of the same strangeness (see annex). It was absolutely unsuspected to see me engender a work of this nature. The natural question that confronted me with the need to develop a thesis that dialogues with my poetic production was to ask myself how did it arrived there? What did exist underneath my existence, on my daily life, with my ghosts and fears? What pushed me into what was evident and into the irrepressible drive to produce certain images?
How to question these subjects in the first person would always have a swamp nature, be tedious, analytical and in a closed-circuit; the hypothesis that remained was to project the questions underlying these mysteries into the poetic production of other authors. I name the authors as if someone whom is known by name, as if the intimacy established by the reading of their works had embodied them in concrete actors in my life: Antonin Artaud, Sade and Georges Bataille. I think that the poetic production only happens when one speaks with authenticity, when one anchors in the lived intimacy of experience and that is as absolute and common as more intimate. Because, deep down, our territories of individual intimacy, unconfessable and untranslatable, are territories transverse to all individuals; are universal in proportion to their intimacy. In this sense, I went to find (not look for) the testimonies contained in the works of Artaud, Sade and Bataille, a reflection of what I sense to be unconscious and involuntary foundations of the creative processes: anguish, affectivity, sexuality, incarceration, boredom, revolt and guilt. The choice was involuntary: it was dictated by affinity, by color, by heart.
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Palavras-chave
Artaud, Antonin, 1896-1948 Sade, Marquês de, 1740-1814 Bataille, Georges, 1897-1962 Criatividade Suspensão