By Antonin Artaud, Victor Corti
This can be my test.
Drama. this crucial quantity of accrued WORKS contains one in every of Artaud's such a lot seminal texts, THE THEATRE AND ITS DOUBLE, and his play THE CENCI. additionally incorporated are appendices, copious notes and his essay SERAPHIM'S THEATRE. THE THEATRE AND ITS DOUBLE, released right here in its entirety, continues to be the main radical textual content on perfromance in print this day. The lesser identified SERAPHIN'S THEATRE outlines an actor's software of the Taoist rules of fullness and vacancy, and has supplied concept to actors and administrators in experimental and non-aturalistic parts of the theatre. THE CENCI is a pragmatic software of a few of the tips inside the THEATRE OF CRUELTY MANIFESTO and is an variation through Artaud of a old scandal which had already been handled by way of Shelley and Stendhal. The play is still a landmark in 20th century theatre as an early construction of the THEATRE OF CRUELTY and it turns into an adventure of surprising strength and wonder at the degree. Translated and with an creation through Victor Corti.
The Theatre and its Double
Documents on 'The Theatre and its Double'
Documents on 'The Cenci'
Considered one of the so much influential figures within the evolution of contemporary drama concept, Antonin Artaud linked himself with Surrealist writers, artists, and experimental theater teams in Paris through the Nineteen Twenties. whilst political modifications led to his holiday from the Surrealists, he based the Theatre Alfred Jarry with Roger Vitrac and Robert Aron. jointly they was hoping to create a discussion board for works that might seriously change French theater. Artaud, particularly, expressed disdain for Western theater of the day, panning the ordered plot and scripted language his contemporaries in most cases hired to show principles, and he recorded his principles in such works as Le Theatre de l. a. cruaute and The Theater and Its Double.
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Additional resources for Antonin Artaud: Collected Works, Volume 4
In one of the Marx Brothers' films a man, thinking he is about to take a woman in his arms, ends up with a cow which moos. And through a combination of circumstances too long to relate, at that moment that same moo assumes an intellectual dignity equal to a woman's cry. If such a situation is possible in films, it is no less possible in theatre as it stands, and it would take very little; for example the cow might be replaced by an animated puppet, a kind of monster gifted with speech, or a man disguised as an animalto redii;cover the secret of the objective poetry underlying all humour, which theatre has given up, leaving it for Music-Hall, while the cinema later turned it to good account.
For me obvious ideas, in theatre as in all else, are dead and finished. The idea of a play built right on stage, encountering production and performance obstacles, demands the discovery of active language, both active and anarchic, where the usual limits of feelings and words are transcended. In any event, and I hasten to say so at once, theatre which submits staging and production, that is to say everything about it that is specifically theatrical, to the lines, is mad, crazy, perverted, rhetorical, philistine, antipoetic and Positivist-that is to say, Western theatre.
In the Balinese Theatre one senses a state prior to language, able to select its own language; music, gestures, moves and words. * We can be sure this aspect of pure theatre, this natural philosophy of total gesture, an idea in itself, transforming the mind's persuasions in order to be discerned through the fibrous maze and tangle of matter, gives us a new idea of whatever properly belongs to the field of form and visible matter. Anyone who succeeds in imparting a mystical meaning to the simple outline of a gown, not simply content with placing man beside his Double, but ascribing to each costumed person their costumed double-those who run these phantasmal clothes, these second clothes, through with a sword, giving them the look of huge butterflies pinned in the air, these people have a far more inborn sense than us of nature's total, occult symbolism, teaching us a lesson which we can be only too sure our theatre technicians would be incapable of using.
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