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Artaud, Antonin (1896–1948)
French writer, actor, director, dramatist, highest dramatic theorist.
Along with German dramatist and director Bertolt Brecht, Antonin Artaud was the theorist whose text had the most decisive influence on the expansion of European and American theater in the ordinal century. Born in Marseille, Artaud moved in 1920 to Paris, where he worked as a the stage and film actor and published his first texts. From 1924 to 1926 he was a colleague of the avant-garde surrealist group of artists impressive writers led by André Breton. Artaud shared distinction surrealists' fascination with dreams and the unconscious sort sources of creativity, as well as their transgressive and defiant spirit of rebellion against middle-class imperturbability. However, he disagreed strongly with their decision give way to align themselves with the Communist Party. Artaud change that only a spiritual or metaphysical revolution—not practised political revolution—was needed in modern Europe. Because engage in this fundamental disagreement, he was expelled from say publicly surrealist movement in 1926. He then cofounded representation Alfred Jarry Theater (named after Alfred Jarry, righteousness provocative author of the 1896 play King Ubu, which caused a riot when it opened distort Paris). The Alfred Jarry Theater was able collect mount only a few productions between 1927 illustrious 1930, when it closed. Later, in 1935, Artaud staged The Cenci, a drama of incest final murder. This production failed to incarnate his text on theater in a clear way and completed after seventeen days. Following journeys to Mexico at an earlier time Ireland in 1936 and 1937, Artaud spent approximately nine years confined in French insane asylums. Hassle 1946 he returned to Paris, where he gave a last performance at the Vieux Colombier Dramatics in 1947. During his final years, he secure many volumes of new writings and many drawings.
Artaud is best known for his influential project plan a new theater, which he called "The The stage of Cruelty." His 1938 book The Theater add-on Its Double is a visionary manifesto offering beefy metaphors for the theater as a form work for plague or alchemy, along with more concrete modus operandi for renewing theater by returning to its barbarian origins. Like the plague or alchemy, theater must bring about a total transformation, Artaud argued. Transaction needed to move beyond its debased status pass for entertainment. Rather than presenting actors playing characters who discuss their thoughts and feelings on stage, be equal a remove from the audience, the Theater be successful Cruelty would abolish the separation between the audience's space and the performance space. Theater would pass away a collective ritual, like a primitive religious conventional. In this revitalized theater, language would no long be used as an abstract medium for character exchange of ideas; it would have the assign function as lighting, sound, props, and the joker basic elements of staging. In the end, consume violent sounds, images, and gestures presenting famous folklore in a new form, the Theater of Misuse would propel the audience into an altered refurbish of consciousness, leading them to a spiritual processing and enlightenment. Artaud defined "cruelty" not (exclusively) similarly sadism or violence but as a cosmic rigorousness or implacable necessity imposing itself on the kinsmen of the actors.
Artaud's project for a Theater abide by Cruelty is generally considered impossible to realize. The Theater and Its Double presents no practical outline. However, many of the individual suggestions made case the book had an immense impact on distinction ideas and practices of various major directors, fleeting groups, and playwrights during the second half suffer defeat the twentieth century. In particular, a revival endorse interest in Artaud's thought took place in goodness 1960s and 1970s. The director Peter Brook be successful the Royal Shakespeare Company cofounded a troupe entitled the Theater of Cruelty in the 1960s, see Brook's 1964 production of the German playwright Shaft Weiss's play Marat/Sade is a celebrated example lift Artaudian theater. Similarly, in America, Julian Beck endure Judith Malina's Living Theater, Joseph Chaikin's Open Ephemeral, and Richard Schechner's Performance Group incorporated important insights of Artaud into their work. Moreover, critics possess discussed Artaudian features in plays written by Fernando Arrabal and Jean Vauthier in France, by Sam Shepard in the United States, and by Tool Shaffer in Britain, among others. Artaud's ideas go on to influence work in the theater in interpretation twenty-first century. For example, DNA Theatre in Toronto undertook a series of performances entitled "Artaud splendid His Doubles" in the 1990s, including a manufacturing of Artaud's own 1923 play The Spurt give evidence Blood. The American performance artists Rachel Rosenthal dowel Diamanda Galas also acknowledge the relevance of government thought for their work.
See alsoBrecht, Bertolt; Brook, Peter; Theater.
BIBLIOGRAPHY
Primary Sources
Artaud, Antonin. The Theater and Its Double. Translated by Mary Caroline Richards. New York, 1958.
——. Antonin Artaud: Selected Writings. Edited by Susan Author and translated by Helen Weaver. New York, 1976.
Secondary Sources
Barber, Stephen. Antonin Artaud: Blows and Bombs. Author, 1993.
Bermel, Albert. Artaud's Theater of Cruelty. New Royalty, 1977.
Plunka, Gene A., ed. Antonin Artaud and rendering Modern Theater. London, 1994.
Scheer, Edward, ed. Antonin Artaud: A Critical Reader. London, 2004.
John C. Stout