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Artaud

 The teath of theater cruelty

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Artaud’s thought

• an attack on theatrical conventionand the importance of language ofdrama, opposing the vitality of theviewer's sensual experienceagainst theatre as a contrivedliterary form, and urgency ofexpression against complacency onthe part of the audience.

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 Theater of the cruelty

•  The Theater of Cruelty, whereArtaud expressed the importanceof recovering "the notion of a kind

of uniue language half!wayetween gesture and thought."

• #e felt that cruelty was not an act

of violence, only a way to show thetruth and he showed that ypulishing his ook.

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• $imilarly, cruelty does not

refer to an act of emotional orphysical violence. According toscholar %athan &orelick,Cruelty is, more profoundly,the unrelenting agitation of alife that has ecomeunnecessary, la(y, or removedfrom a compelling force. The Theatre of Cruelty givesexpression to everything thatis )crime, love, war, ormadness’ in order to)unforgettaly root within usthe ideas of perpetual con*ict,a spasm in which life iscontinually lacerated, in whicheverything in creation rises up

and asserts itself against ourappointed rank.

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•  The Theater of Cruelty can e seen as reak

with traditional +estern theatre, and a meansy which artists assault the senses of theaudience, and allow them to feel the

unexpressed emotions of the suconscious

Characteristics of the

theatre

Artaud elieved that language was anentirely insucient means to expresstrauma.$peech on the Theatre of Cruelty’sstage is reduced to inarticulate

sounds, cries, and giering screams,no longer inviting a su-ect into eingut seeking to preclude its veryexistence./01

Artaud wan

ted to aolish the stageand auditorium, and to do away withsets and props and marks