Artaud's Theatre Of Cruelty (Plays and Playwrights)
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The definitive guide to the life and work of Antonin Artaud
Antonin Artaud's theatre of cruelty is one of the most vital forces in world theatre, yet the concept is one of the most frequently misunderstood. In this incisive study, Albert Bermel looks closely at Artaud's work as a playwright, director, actor, designer, producer and critic, and provides a fresh insight into his ideas, innovations and, above all, his writings.
Tracing the theatre of cruelty's origins in earlier dramatic conventions, tribal rituals of cleansing, transfiguration and exaltation, and in related arts such as film and dance, Bermel examines each of Artaud's six plays for form and meaning, as well as surveying the application of Artaud's theories and techniques to the international theatre of recent years.
of speech, consist of descriptions of a dramatic situation, rather than developments of that situation.5 As Artaud outlines it in the second version the play (if it is a play) does not grow or move; it takes place 'solely in the mind' and seems intended as a sort of triptych: blurred portraits in one loose frame of Brunelleschi, Donatello and Uccello, the latter sharing traits with the author-painter, Artaud. Uccello is on 'one level', Brunelleschi and Donatello on 'another level' whether higher
contributory, and of reducing the significance of the text in relation to the other components. The production, a noisily heralded event, opened 6 May 1935, at the Folies-Wagram Theatre, a house that usually accommodated straightforward boulevard plays. The sets, designed by Balthus, were dominated by a partly realistic, partly abstract version of the Cenci castle with lofty ladders, columns, nets and irregular scaffolding behind it. Italianate stairways, arches and balustrades created an
some of Artaud's successors on limited numbers of audiences, rather than on whole communities. In tempering Artaud with Brecht, these artists have demonstrated that the Theatre of Cruelty, which Artaud did not himself 85 accomplish as a codified plan, can be broken down into separable ideas and techniques. As these component parts, Artaud's theories have given the contemporary theatre a series of life-awakening jolts. CHAPTER 9: SOCIAL REDEEMER 1. 2. 3. Joseph Kerman, Opera as Drama (New
Schramme. Embarked on two attempts in drug clinics to break his addiction; neither was successful. Went to stay in Brussels with Cecile's family. While there he gave a public lecture at which he lost control, insulting the audience and himself. Engagement broken off by Cecile's father. Published a pamphlet The New Revelations of Being, which predicted that fire would consume the world in November of that year. August: went to Ireland to seek the 'last authentic descendants of the Druids. .. who
9-1 1,35, 37, 59 Plautus, 4 Play (Beckett), 104 Poel, William, 90 Polish Laboratory Theatre, 94, 105 Porche, Francois, 80 Professor Taranne (Adamov), 94 public funding, 107n.l, 108 Public Theatre (New York), 91 Pudovkin, Vsevolod, 118 Pythagorean Brotherhood, 33 Racine, Jean, 67, 90 Reinhardt, Max, 50, 119 Revenger's Tragedy, The (Tourneur), 36 Richard II (Shakespeare), 98, 110 Ride Across Lake Constance, The (Handke), 94 Rojo, Jerry, 94 Rome, Fellini's and Mussolini's, 112 Romeo and Juliet