| dc.description.abstract | A curriculum is a cultural artifact which puts the life of many of us at stake, and in which the space of territorialization and deterritorialization are at issue. Although images of thought and watchwords such as hierarchization, discipline, judgment, classification, evaluation, and regulation weight over a curriculum, the potency of a life is also at stake in the spaces and times of a curriculum. What can, therefore, a curriculum do? Which power can be brokered and machined to create a spark of light in a life and make it embark in a line of flight? Could we add, find, and conjugate other elements and images stolen from elsewhere to mobilize, surprise and move the thought images given to a curriculum? What can we add to a curriculum? And if we added a curriculum to Antonin Artaud and the Theater of Cruelty? Thus, what can a curriculum + Artaud + the Theater? This dissertation begins from this concern in orderto reach a curriculum with Antonin Artaud and the Theater, andto compose a theater-curriculum. For this matter, it utilizes inspirations taken from Gilles Deleuzes philosophy of the Difference, and from an schizoanalytic mapping of Antonin Artauds works. The argument here is that there are overlappingpotentialities and virtualities in the composition of the theater-curriculum, when its machining is established from the writings of Antonin Artaud, and with the implications of his thoughts on theater. In a fabling exercise, this dissertation makes use of a conceptual character, Ery, a nomadic traveler, who, through letters, follows me and helps me in plots, shock of ideas, and formulations here established, in order to try to expose virtualizations and updates that Antonin Artaud and the Theater of Cruelty can provide to a curriculum. For a composition between the curriculum and the theater,we follow Ery in the mapping of lines and thought images of the relationship between curriculum and theater, and in his submersion in the impetuous writings of Antonin Artaud, in order to find the powers and becomings that surround the Theater of Cruelty to a curriculum-theater. The very cruelty leaves aside the theological and moral judgment, and gains an ethical statute in a curriculum, involved not only with the fabrication of life forms, but also with the virtualization of existence: some points to think about the possibility of the ethics of the curriculum cruelty. Forms materialize other thought images of the body of a curriculum and of the bodies that a curriculum shapes, so thatfrom this movement, the remains and the traces of a body curriculum can be perceived. A theater-curriculum that maddens the subjective life forms that machines, so they can open and keep connected with the forces of the world thatmadden a curriculum. The theater ceases, finally, to refer to an aesthetic form or a subject of knowledge embedded in curriculums, to become the movement of forces of thought and the tensioning ofrelationships of forces that a curriculum supports. Here is the actual machining of a theater-curriculum: theatrum curriculum. What a theater-curriculum wants is to only make an exercise of magical metamorphosis and poetics in a curriculum through things and words, images and the world, life and being. | |
