Abstract
‘A true theatrical work disturbs the senses in repose, liberates the repressed unconscious, foments a virtual revolt … and imposes both a heroic and difficult attitude on the assembled collectivity.’1 So wrote Antonin Artaud in 1933. The father of the revolutionary theatre of cruelty, Artaud wanted to do away with the traditional theatre, whose nuclear elements were words, well-made plots, psychologically oriented and rationally understandable characters.
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Notes
Antonin Artaud, Oeuvres complètes, vol. IV (Paris: Gallimard, 1964) p. 32.
Antonin Artaud, The Theatre and its Double, trans. Caroline Richards (New York: Grove Press, 1958) p. 104.
Antonin Artaud, ‘Emotional Athleticism’, in Collected Works, vol. 4 (London: Calder and Boyars, 1974) p. 101.
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© 1994 The Editorial Board, Lumière Cooperative Press Ltd
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Knapp, B.L. (1994). Antonin Artaud and the Theatre of Cruelty. In: Docherty, B. (eds) Twentieth-Century European Drama. Insights. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-23073-0_6
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DOI: https://doi.org/10.1007/978-1-349-23073-0_6
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