Artaud’s Artaud’s Theater of Theater of

CrueltyCruelty

IntroductionIntroduction

During the early 1930s, the French During the early 1930s, the French dramatist and actor Antonin Artaud put dramatist and actor Antonin Artaud put forth a theory for a Surrealist theatre called forth a theory for a Surrealist theatre called the Theatre of the Theatre of CrueltyCruelty. .

Based on ritual and fantasy, this form of Based on ritual and fantasy, this form of theatre launches an attack on the theatre launches an attack on the spectators' subconscious in an attempt to spectators' subconscious in an attempt to release deep-rooted fears and anxieties that release deep-rooted fears and anxieties that are normally suppressed, forcing people to are normally suppressed, forcing people to view themselves and their natures without view themselves and their natures without the shield of civilization. the shield of civilization.

Theatre of Theatre of CrueltyCruelty usually minimizes usually minimizes the text by emphasizing screams, the text by emphasizing screams, inarticulate cries, and symbolic inarticulate cries, and symbolic gestures. gestures.

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

Antonin ArtaudAntonin ArtaudSept. 4, 1896 - March 4, 1948 Sept. 4, 1896 - March 4, 1948

French dramatist, poet, actor, and French dramatist, poet, actor, and theoretician of the Surrealist theoretician of the Surrealist movement who attempted to replace movement who attempted to replace the “bourgeois” classical theatre with the “bourgeois” classical theatre with his “theatre of cruelty,” a primitive his “theatre of cruelty,” a primitive ceremonial experience intended to ceremonial experience intended to liberate the human subconscious and liberate the human subconscious and reveal man to himself.reveal man to himself.

Early YearsEarly Years

Artaud’s infancy was a difficult one and Artaud’s infancy was a difficult one and influenced him a lotinfluenced him a lot

At the age of four, Antonin had a severe At the age of four, Antonin had a severe attack of meningitis. The virus gave Antonin attack of meningitis. The virus gave Antonin a nervous, irritable temperament a nervous, irritable temperament throughout adolescencethroughout adolescence

He also suffered from neuralgia, He also suffered from neuralgia, stammering and severe bouts of stammering and severe bouts of depression.depression.

As a teenager, he was stabbed in the back As a teenager, he was stabbed in the back by a pimp for apparently no reason, similar by a pimp for apparently no reason, similar to the experience of his fellow surrealist to the experience of his fellow surrealist playwright Samuel Beckett.playwright Samuel Beckett.

He was institutionalized by his He was institutionalized by his parents in a sanatorium for five parents in a sanatorium for five years, during which time he read the years, during which time he read the works of Rimbaud, Baudelaire, and works of Rimbaud, Baudelaire, and PoePoe

In May 1919 he was prescribed In May 1919 he was prescribed opium, which opened the way to a opium, which opened the way to a life-long addiction to this drugs and life-long addiction to this drugs and others as wellothers as well

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

He sent his Surrealist poetry He sent his Surrealist poetry L'Ombilic des limbes (1925; L'Ombilic des limbes (1925; “Umbilical Limbo”) and Le Pèse-nerfs “Umbilical Limbo”) and Le Pèse-nerfs (1925; Nerve Scales) to the (1925; Nerve Scales) to the influential critic Jacques Rivière, thus influential critic Jacques Rivière, thus beginning their long correspondence beginning their long correspondence

He studies acting in Paris and made his He studies acting in Paris and made his debut in Aurélien Lugné-Poë's Dadaist-debut in Aurélien Lugné-Poë's Dadaist-Surrealist Théâtre de l'Oeuvre. Surrealist Théâtre de l'Oeuvre.

Expelled from the Surrealist movement Expelled from the Surrealist movement when he co-founded Théâtre Alfred Jarry when he co-founded Théâtre Alfred Jarry with Roger Vitrac. (they ran this theater with Roger Vitrac. (they ran this theater together for two years, from 1926-1928).together for two years, from 1926-1928).

He produced and directed original works, He produced and directed original works, as well as pieces by as well as pieces by ClaudelClaudel and and StrindbergStrindberg

Artaud also developed a passion for Artaud also developed a passion for cinemacinema

He wrote the script for the first He wrote the script for the first Surrealist film, The Seashell and the Surrealist film, The Seashell and the Clergyman, directed by Germaine Clergyman, directed by Germaine Dulac.Dulac.

The film is about a clergy man who, The film is about a clergy man who, obsessed with a general’s woman, obsessed with a general’s woman, has strange visions of death and lust, has strange visions of death and lust, struggling against his own eroticism. struggling against his own eroticism.

Artaud was reputedly Artaud was reputedly unhappy with Dulac's unhappy with Dulac's realisation of his realisation of his scenario, and it's scenario, and it's true that the story's true that the story's anti-clericalism is anti-clericalism is somewhat somewhat undermined by the undermined by the director's determined director's determined visual lyricism.visual lyricism.

At the film's premier, writer Antonin At the film's premier, writer Antonin Artaud, who was obviously not pleased by Artaud, who was obviously not pleased by what director Germain Dulac did to his what director Germain Dulac did to his screenplay, shouted at the screen insulting screenplay, shouted at the screen insulting her as a cow.her as a cow.

The British Board of Film Censors banned The British Board of Film Censors banned this film in the UK in 1927, saying, "This this film in the UK in 1927, saying, "This film is so obscure as to have no apparent film is so obscure as to have no apparent meaning. If there is a meaning, it is meaning. If there is a meaning, it is doubtless objectionable."doubtless objectionable."

Artaud also acted in Artaud also acted in several moviesseveral movies

He played Marat in He played Marat in Abel Gance's film Abel Gance's film Napoléon (1927) Napoléon (1927) and appeared as a and appeared as a friar in Carl Dreyer's friar in Carl Dreyer's classic film La classic film La Passion de Jeanne Passion de Jeanne d'Arc (1928). d'Arc (1928).

In 1935, Artaud staged The Cinci, his In 1935, Artaud staged The Cinci, his adaptation of the texts by Shelley and adaptation of the texts by Shelley and Stendhal. Stendhal.

Le Cenci was destined by Artaud to establish Le Cenci was destined by Artaud to establish a closer contact between actors and a closer contact between actors and spectators than the normal theater could spectators than the normal theater could ever realize ever realize

In this production mechanical devices were In this production mechanical devices were used to create a visible and audible frenzy: used to create a visible and audible frenzy: strident and dissonant sound effects, whirling strident and dissonant sound effects, whirling stage sets, the effects of storms by means of stage sets, the effects of storms by means of light, unusual speech effects. light, unusual speech effects.

The production was a failure The production was a failure

In 1938, Artaud published “In 1938, Artaud published “The Theatre The Theatre and Its Doubleand Its Double”, the most important of ”, the most important of his workshis works

This book contained the two manifestos of This book contained the two manifestos of the Theater of Cruelty, essential texts in the Theater of Cruelty, essential texts in understanding his artistic project.understanding his artistic project.

In his book In his book The Theatre and Its DoubleThe Theatre and Its Double, , Artaud expressed his admiration for Artaud expressed his admiration for EasternEastern forms of theatre, particularly the forms of theatre, particularly the BalineseBalinese. .

Influence of the Balinese TheaterInfluence of the Balinese Theater

At the Colonial Exposition of 1931, where he At the Colonial Exposition of 1931, where he saw the Balinese theater, he was struck by saw the Balinese theater, he was struck by the tremendous difference between those the tremendous difference between those plays and our traditional Western play. A plays and our traditional Western play. A dramatic presentation should be an act of dramatic presentation should be an act of initiation during which the spectator will be initiation during which the spectator will be awed and even terrified--and to such a awed and even terrified--and to such a degree that he will lose control of his reason. degree that he will lose control of his reason.

"All true feeling is in reality "All true feeling is in reality untranslatable. To express it is to untranslatable. To express it is to betray it. But to translate it is to betray it. But to translate it is to dissimulate it."dissimulate it."

The fact that words are not the essential The fact that words are not the essential features in Balinese theatre appealed features in Balinese theatre appealed strongly to Artaud; he who had always had strongly to Artaud; he who had always had such difficulties formulating ideas by such difficulties formulating ideas by means of them and who described his means of them and who described his struggles in this domain so pathetically.struggles in this domain so pathetically.

Artaud was absolutely convinced that Artaud was absolutely convinced that words are just incapable of expressing words are just incapable of expressing certain attitudes and feelings, and that certain attitudes and feelings, and that these can be revealed only through these can be revealed only through gestures or sounds, symbolically felt. gestures or sounds, symbolically felt.

Although Artaud was usually condemnatory of Although Artaud was usually condemnatory of Christianity, he defined the goal of the theater in Christianity, he defined the goal of the theater in spiritual terms. Its "sacred" goal, he claimed, is to spiritual terms. Its "sacred" goal, he claimed, is to communicate delirium whereby the spectators communicate delirium whereby the spectators will experience trances and inspiration. will experience trances and inspiration.

A true play, according to Artaud's concept, will A true play, according to Artaud's concept, will disturb in the spectator his tranquillity of mind disturb in the spectator his tranquillity of mind and his senses, and it will liberate his and his senses, and it will liberate his subconscious.subconscious.

The method Artaud proposes by which this will be The method Artaud proposes by which this will be brought about is to associate the theater with brought about is to associate the theater with danger and cruelty. "This will bring the demons to danger and cruelty. "This will bring the demons to the surface," he says. the surface," he says.

Words spoken on the stage will then have Words spoken on the stage will then have the power they possess in dreams. the power they possess in dreams. Language will become an incantation Language will become an incantation

Action will remain the center of the play, Action will remain the center of the play, but its purpose is to reveal the presence of but its purpose is to reveal the presence of extraordinary forces in man. The extraordinary forces in man. The metteur-metteur-en-scèneen-scène becomes a kind of magician, a becomes a kind of magician, a holy man, in a sense, because he calls to holy man, in a sense, because he calls to life themes that are not purely humanlife themes that are not purely human

"The theatre must make itself the equal of "The theatre must make itself the equal of life --- not an individual life, that individual life --- not an individual life, that individual aspect of life in which CHARACTERS aspect of life in which CHARACTERS triumph, but the sort of liberated life which triumph, but the sort of liberated life which sweeps away human individuality and in sweeps away human individuality and in which man is only a reflection. The true which man is only a reflection. The true purpose of the theatre is to create Myths, to purpose of the theatre is to create Myths, to express life in its immense, universal express life in its immense, universal aspects, and from that life to extract aspects, and from that life to extract images in which we find pleasure in images in which we find pleasure in discovering ourselves."discovering ourselves."

The real objective of the theater for Artaud is the The real objective of the theater for Artaud is the translation of life into its universal immense form, the translation of life into its universal immense form, the form that will extract from life images in which we form that will extract from life images in which we would have pleasure in being. This is what he means by would have pleasure in being. This is what he means by the word "double" (the word "double" (Le Théâtre et son doubleLe Théâtre et son double).).

The theater is not a direct copy of reality; it is of The theater is not a direct copy of reality; it is of another kind of dangerous reality where the principles another kind of dangerous reality where the principles of life are always just disappearing from beyond our of life are always just disappearing from beyond our vision. vision.

He compares these principles to dolphins, who as soon He compares these principles to dolphins, who as soon as they show their heads above the surface plunge as they show their heads above the surface plunge down into the depths. This reality is beyond man, with down into the depths. This reality is beyond man, with his habits and character. It is inhuman. If the theater is his habits and character. It is inhuman. If the theater is able to lead the spectator back into his world of dreams able to lead the spectator back into his world of dreams and primitive instincts, he will find himself "in a world and primitive instincts, he will find himself "in a world that is bloodthirsty and inhuman" (that is bloodthirsty and inhuman" (sanguinaire et sanguinaire et inhumaininhumain). ).

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

Final YearsFinal Years Artaud was committed to Artaud was committed to

a psychiatric hospital a psychiatric hospital from 1937 to 1946 from 1937 to 1946

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

Antonin Artaud's final work was a radiophonic Antonin Artaud's final work was a radiophonic creation entitled creation entitled "To Have Done With The "To Have Done With The Judgment Of GodJudgment Of God.“.“

The work was recorded in the studios of the The work was recorded in the studios of the French Radio at the end of 1947 and scheduled to French Radio at the end of 1947 and scheduled to be broadcast at 10:45 PM on February 2, 1948, be broadcast at 10:45 PM on February 2, 1948, but the broadcast was cancelled at the last but the broadcast was cancelled at the last minute by the director of French Radio, Vladimir minute by the director of French Radio, Vladimir PorchePorche

Artaud died a little over a month later, profoundly Artaud died a little over a month later, profoundly disappointed over the rejection of the work. disappointed over the rejection of the work.

It was not broadcast over the airwaves until thirty It was not broadcast over the airwaves until thirty years later. years later.

In the actual text of "To Have Done With The In the actual text of "To Have Done With The Judgment Of God" America is denounced as a Judgment Of God" America is denounced as a baby factory war-mongering machine. baby factory war-mongering machine.

Bloody and apocalyptic death rituals are Bloody and apocalyptic death rituals are described. Shit is vividly exalted as evidence described. Shit is vividly exalted as evidence of life and mortality. Questions about of life and mortality. Questions about consciousness and knowledge are pursued consciousness and knowledge are pursued and answered with more unanswerable and answered with more unanswerable questions. questions.

It all dead-ends in a scene in which God itself It all dead-ends in a scene in which God itself turns up on an autopsy table as a dissected turns up on an autopsy table as a dissected organ taken from the defective corpse of organ taken from the defective corpse of mankind. mankind.

In the recording all this would have been In the recording all this would have been interspersed with shrieks, screams, grunts, interspersed with shrieks, screams, grunts, and an extensive vocabulary of nonsense and an extensive vocabulary of nonsense words-words-

Artaud and BrookArtaud and Brook

Artaud and his Theater of Cruelty did not Artaud and his Theater of Cruelty did not achieve popularity during his lifetimeachieve popularity during his lifetime

Artaud became known and applauded for the Artaud became known and applauded for the first time after Brook’s experiment in the first time after Brook’s experiment in the 1960’s1960’s

Brook, assisted by Charles Marowitz selected Brook, assisted by Charles Marowitz selected a group of 12 actors and organised a 5-days a group of 12 actors and organised a 5-days long production. Their work was presented long production. Their work was presented under the name of “Theater of Cruelty” and under the name of “Theater of Cruelty” and employed some of Artaud’s theories. employed some of Artaud’s theories.

One of Brooks productions, “Marat/Sade”, One of Brooks productions, “Marat/Sade”, was one of the most successful and was one of the most successful and influencial productions of the ’60sinfluencial productions of the ’60s

Trivia Trivia

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

The Museum of The Museum of Modern Art (NYC) had Modern Art (NYC) had a showing of his a showing of his drawings and drawings and paintings, composed paintings, composed while he was a patient while he was a patient in a mental institution, in a mental institution, where he was where he was encouraged to draw encouraged to draw and paint as part of and paint as part of his therapy. [1996]his therapy. [1996]

Who am  I?Who am  I?Where do I come from?Where do I come from?I am Antonin ArtaudI am Antonin Artaudand if I say itand if I say itas I know how to say itas I know how to say itimmediatelyimmediatelyyou will see my present bodyyou will see my present bodyfly into piecesfly into piecesand under ten thousandand under ten thousandnotorious aspectsnotorious aspectsa new bodya new bodywill be assembledwill be assembledin which you will never againin which you will never againbe ablebe ableto forget me.to forget me.

In January In January 19481948, Artaud was diagnosed , Artaud was diagnosed with intestinal with intestinal cancercancer. He died shortly . He died shortly afterwards on afterwards on March 4March 4, 1948. Artaud died , 1948. Artaud died alone in his pavilion, seated at the foot of alone in his pavilion, seated at the foot of his bed, holding his shoe. It was suspected his bed, holding his shoe. It was suspected that he died from a lethal dose of the drug that he died from a lethal dose of the drug chloral, although whether or not he was chloral, although whether or not he was aware of its lethality is unknown. aware of its lethality is unknown.

He didn't want any church burial but his He didn't want any church burial but his family decided to do it against his will. family decided to do it against his will. Only actress Maria Casarès and a few Only actress Maria Casarès and a few other friends tried to oppose.other friends tried to oppose.

QuoteQuote

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

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