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Artauds Theater of Cruelty
Artauds Theater of Cruelty
Introduction
Introduction
Theatre of Cruelty usually minimizes the text by emphasizing screams,
Theatre of Cruelty usually minimizes the text by emphasizing screams,
Antonin Artaud Sept
Antonin Artaud Sept
French dramatist, poet, actor, and theoretician of the Surrealist
French dramatist, poet, actor, and theoretician of the Surrealist
Early Years
Early Years
He was institutionalized by his parents in a sanatorium for five years
He was institutionalized by his parents in a sanatorium for five years
In 1920, Artaud moved to Paris and tried to publish some of his poems
In 1920, Artaud moved to Paris and tried to publish some of his poems
He studies acting in Paris and made his debut in Aur
He studies acting in Paris and made his debut in Aur
Artaud also developed a passion for cinema He wrote the script for the
Artaud also developed a passion for cinema He wrote the script for the
Artaud was reputedly unhappy with Dulac's realisation of his scenario,
Artaud was reputedly unhappy with Dulac's realisation of his scenario,
At the film's premier, writer Antonin Artaud, who was obviously not
At the film's premier, writer Antonin Artaud, who was obviously not
Artaud also acted in several movies He played Marat in Abel Gance's
Artaud also acted in several movies He played Marat in Abel Gance's
In 1935, Artaud staged The Cinci, his adaptation of the texts by
In 1935, Artaud staged The Cinci, his adaptation of the texts by
In 1938, Artaud published The Theatre and Its Double, the most
In 1938, Artaud published The Theatre and Its Double, the most
Influence of the Balinese Theater
Influence of the Balinese Theater
The fact that words are not the essential features in Balinese theatre
The fact that words are not the essential features in Balinese theatre
Although Artaud was usually condemnatory of Christianity, he defined
Although Artaud was usually condemnatory of Christianity, he defined
Words spoken on the stage will then have the power they possess in
Words spoken on the stage will then have the power they possess in
"The theatre must make itself the equal of life --- not an individual
"The theatre must make itself the equal of life --- not an individual
The real objective of the theater for Artaud is the translation of
The real objective of the theater for Artaud is the translation of
Artaud has acknowledged that in this conception of the theater, he is
Artaud has acknowledged that in this conception of the theater, he is
Final Years
Final Years
Antonin Artaud's final work was a radiophonic creation entitled "To
Antonin Artaud's final work was a radiophonic creation entitled "To
In the actual text of "To Have Done With The Judgment Of God" America
In the actual text of "To Have Done With The Judgment Of God" America
Artaud and Brook
Artaud and Brook
Trivia
Trivia
The Museum of Modern Art (NYC) had a showing of his drawings and
The Museum of Modern Art (NYC) had a showing of his drawings and
Who am I
Who am I
Artauds Theater of Cruelty
Artauds Theater of Cruelty
Artauds Theater of Cruelty
Artauds Theater of Cruelty
In January 1948, Artaud was diagnosed with intestinal cancer
In January 1948, Artaud was diagnosed with intestinal cancer
Quote
Quote
Bibliography
Bibliography

: Artauds Theater of Cruelty. : Valued Customer. : Artauds Theater of Cruelty.ppt. zip-: 284 .

Artauds Theater of Cruelty

Artauds Theater of Cruelty.ppt
1 Artauds Theater of Cruelty

Artauds Theater of Cruelty

2 Introduction

Introduction

During the early 1930s, the French dramatist and actor Antonin Artaud put forth a theory for a Surrealist theatre called the Theatre of Cruelty. Based on ritual and fantasy, this form of theatre launches an attack on the spectators' subconscious in an attempt to release deep-rooted fears and anxieties that are normally suppressed, forcing people to view themselves and their natures without the shield of civilization.

3 Theatre of Cruelty usually minimizes the text by emphasizing screams,

Theatre of Cruelty usually minimizes the text by emphasizing screams,

inarticulate cries, and symbolic gestures. In order to shock the audience and thus evoke the necessary response, the extremes of human nature (often madness and perversion) are graphically portrayed on stage.

4 Antonin Artaud Sept

Antonin Artaud Sept

4, 1896 - March 4, 1948

5 French dramatist, poet, actor, and theoretician of the Surrealist

French dramatist, poet, actor, and theoretician of the Surrealist

movement who attempted to replace the bourgeois classical theatre with his theatre of cruelty, a primitive ceremonial experience intended to liberate the human subconscious and reveal man to himself.

6 Early Years

Early Years

Artauds infancy was a difficult one and influenced him a lot At the age of four, Antonin had a severe attack of meningitis. The virus gave Antonin a nervous, irritable temperament throughout adolescence He also suffered from neuralgia, stammering and severe bouts of depression. As a teenager, he was stabbed in the back by a pimp for apparently no reason, similar to the experience of his fellow surrealist playwright Samuel Beckett.

7 He was institutionalized by his parents in a sanatorium for five years

He was institutionalized by his parents in a sanatorium for five years

during which time he read the works of Rimbaud, Baudelaire, and Poe In May 1919 he was prescribed opium, which opened the way to a life-long addiction to this drugs and others as well

8 In 1920, Artaud moved to Paris and tried to publish some of his poems

In 1920, Artaud moved to Paris and tried to publish some of his poems

He sent his Surrealist poetry L'Ombilic des limbes (1925; Umbilical Limbo) and Le P?se-nerfs (1925; Nerve Scales) to the influential critic Jacques Rivi?re, thus beginning their long correspondence

9 He studies acting in Paris and made his debut in Aur

He studies acting in Paris and made his debut in Aur

lien Lugn?-Po?'s Dadaist-Surrealist Th??tre de l'Oeuvre. Expelled from the Surrealist movement when he co-founded Th??tre Alfred Jarry with Roger Vitrac. (they ran this theater together for two years, from 1926-1928). He produced and directed original works, as well as pieces by Claudel and Strindberg

10 Artaud also developed a passion for cinema He wrote the script for the

Artaud also developed a passion for cinema He wrote the script for the

first Surrealist film, The Seashell and the Clergyman, directed by Germaine Dulac. The film is about a clergy man who, obsessed with a generals woman, has strange visions of death and lust, struggling against his own eroticism.

11 Artaud was reputedly unhappy with Dulac's realisation of his scenario,

Artaud was reputedly unhappy with Dulac's realisation of his scenario,

and it's true that the story's anti-clericalism is somewhat undermined by the director's determined visual lyricism.

12 At the film's premier, writer Antonin Artaud, who was obviously not

At the film's premier, writer Antonin Artaud, who was obviously not

pleased by what director Germain Dulac did to his screenplay, shouted at the screen insulting her as a cow. The British Board of Film Censors banned this film in the UK in 1927, saying, "This film is so obscure as to have no apparent meaning. If there is a meaning, it is doubtless objectionable."

13 Artaud also acted in several movies He played Marat in Abel Gance's

Artaud also acted in several movies He played Marat in Abel Gance's

film Napol?on (1927) and appeared as a friar in Carl Dreyer's classic film La Passion de Jeanne d'Arc (1928).

14 In 1935, Artaud staged The Cinci, his adaptation of the texts by

In 1935, Artaud staged The Cinci, his adaptation of the texts by

Shelley and Stendhal. Le Cenci was destined by Artaud to establish a closer contact between actors and spectators than the normal theater could ever realize In this production mechanical devices were used to create a visible and audible frenzy: strident and dissonant sound effects, whirling stage sets, the effects of storms by means of light, unusual speech effects. The production was a failure

15 In 1938, Artaud published The Theatre and Its Double, the most

In 1938, Artaud published The Theatre and Its Double, the most

important of his works This book contained the two manifestos of the Theater of Cruelty, essential texts in understanding his artistic project. In his book The Theatre and Its Double, Artaud expressed his admiration for Eastern forms of theatre, particularly the Balinese.

16 Influence of the Balinese Theater

Influence of the Balinese Theater

At the Colonial Exposition of 1931, where he saw the Balinese theater, he was struck by the tremendous difference between those plays and our traditional Western play. A dramatic presentation should be an act of initiation during which the spectator will be awed and even terrified--and to such a degree that he will lose control of his reason. "All true feeling is in reality untranslatable. To express it is to betray it. But to translate it is to dissimulate it."

17 The fact that words are not the essential features in Balinese theatre

The fact that words are not the essential features in Balinese theatre

appealed strongly to Artaud; he who had always had such difficulties formulating ideas by means of them and who described his struggles in this domain so pathetically. Artaud was absolutely convinced that words are just incapable of expressing certain attitudes and feelings, and that these can be revealed only through gestures or sounds, symbolically felt.

18 Although Artaud was usually condemnatory of Christianity, he defined

Although Artaud was usually condemnatory of Christianity, he defined

the goal of the theater in spiritual terms. Its "sacred" goal, he claimed, is to communicate delirium whereby the spectators will experience trances and inspiration. A true play, according to Artaud's concept, will disturb in the spectator his tranquillity of mind and his senses, and it will liberate his subconscious. The method Artaud proposes by which this will be brought about is to associate the theater with danger and cruelty. "This will bring the demons to the surface," he says.

19 Words spoken on the stage will then have the power they possess in

Words spoken on the stage will then have the power they possess in

dreams. Language will become an incantation Action will remain the center of the play, but its purpose is to reveal the presence of extraordinary forces in man. The metteur-en-sc?ne becomes a kind of magician, a holy man, in a sense, because he calls to life themes that are not purely human

20 "The theatre must make itself the equal of life --- not an individual

"The theatre must make itself the equal of life --- not an individual

life, that individual aspect of life in which CHARACTERS triumph, but the sort of liberated life which sweeps away human individuality and in which man is only a reflection. The true purpose of the theatre is to create Myths, to express life in its immense, universal aspects, and from that life to extract images in which we find pleasure in discovering ourselves."

21 The real objective of the theater for Artaud is the translation of

The real objective of the theater for Artaud is the translation of

life into its universal immense form, the form that will extract from life images in which we would have pleasure in being. This is what he means by the word "double" (Le Th??tre et son double). The theater is not a direct copy of reality; it is of another kind of dangerous reality where the principles of life are always just disappearing from beyond our vision. He compares these principles to dolphins, who as soon as they show their heads above the surface plunge down into the depths. This reality is beyond man, with his habits and character. It is inhuman. If the theater is able to lead the spectator back into his world of dreams and primitive instincts, he will find himself "in a world that is bloodthirsty and inhuman" (sanguinaire et inhumain).

22 Artaud has acknowledged that in this conception of the theater, he is

Artaud has acknowledged that in this conception of the theater, he is

calling upon an elementary magical idea used by modern psychoanalysis wherein the patient is cured by making him take an exterior attitude of the very state that he should recover or discover. A play that contains the repressed forces of man will liberate him from them. By plastic graphic means, the stage production will appeal to the spectators, and will even bewitch them and induce them into a kind of trance.

23 Final Years

Final Years

Artaud was committed to a psychiatric hospital from 1937 to 1946 During his stay at the asylum, Artaud's behavior was characterized by delusions, auditory hallucinations, glossolalia and violent tantrums. He underwent a myriad of bizarre treatments for this behavior including coma-inducing insulin therapy and electroshock therapy

24 Antonin Artaud's final work was a radiophonic creation entitled "To

Antonin Artaud's final work was a radiophonic creation entitled "To

Have Done With The Judgment Of God. The work was recorded in the studios of the French Radio at the end of 1947 and scheduled to be broadcast at 10:45 PM on February 2, 1948, but the broadcast was cancelled at the last minute by the director of French Radio, Vladimir Porche Artaud died a little over a month later, profoundly disappointed over the rejection of the work. It was not broadcast over the airwaves until thirty years later.

25 In the actual text of "To Have Done With The Judgment Of God" America

In the actual text of "To Have Done With The Judgment Of God" America

is denounced as a baby factory war-mongering machine. Bloody and apocalyptic death rituals are described. Shit is vividly exalted as evidence of life and mortality. Questions about consciousness and knowledge are pursued and answered with more unanswerable questions. It all dead-ends in a scene in which God itself turns up on an autopsy table as a dissected organ taken from the defective corpse of mankind. In the recording all this would have been interspersed with shrieks, screams, grunts, and an extensive vocabulary of nonsense words-

26 Artaud and Brook

Artaud and Brook

Artaud and his Theater of Cruelty did not achieve popularity during his lifetime Artaud became known and applauded for the first time after Brooks experiment in the 1960s Brook, assisted by Charles Marowitz selected a group of 12 actors and organised a 5-days long production. Their work was presented under the name of Theater of Cruelty and employed some of Artauds theories. One of Brooks productions, Marat/Sade, was one of the most successful and influencial productions of the 60s

27 Trivia

Trivia

Artaud believed that sexual activity, including masturbation, was harmful to the creative process and should be avoided if one hoped to achieve purity in one's art.

28 The Museum of Modern Art (NYC) had a showing of his drawings and

The Museum of Modern Art (NYC) had a showing of his drawings and

paintings, composed while he was a patient in a mental institution, where he was encouraged to draw and paint as part of his therapy. [1996]

29 Who am I

Who am I

Where do I come from? I am Antonin Artaud and if I say it as I know how to say it immediately you will see my present body fly into pieces and under ten thousand notorious aspects a new body will be assembled in which you will never again be able to forget me.

30 Artauds Theater of Cruelty
31 Artauds Theater of Cruelty
32 In January 1948, Artaud was diagnosed with intestinal cancer

In January 1948, Artaud was diagnosed with intestinal cancer

He died shortly afterwards on March 4, 1948. Artaud died alone in his pavilion, seated at the foot of his bed, holding his shoe. It was suspected that he died from a lethal dose of the drug chloral, although whether or not he was aware of its lethality is unknown. He didn't want any church burial but his family decided to do it against his will. Only actress Maria Casar?s and a few other friends tried to oppose.

33 Quote

Quote

The truth of life lies in the impulsiveness of matter. The mind of man has been poisoned by concepts. Do not ask him to be content, ask him only to be calm, to believe that he has found his place. But only the madman is really calm.

34 Bibliography

Bibliography

www.imdb.com www.wikipedia.com www.timeout.com http://www.strangemusic.com/philostone_balinese.htm http://www.deutsches-filminstitut.de/collate/collate_sp/se/se_05_02.html http://130.179.92.25/Arnason_DE/Colin.html http://www.albany.edu/scj/jcjpc/vol8is3/shoham.html#------.%201986. http://members.aol.com/mindwebart2/page169.htm

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