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	Antonin Artaud - Wikipedia, the free encyclopedia
		Artaud's parents were partly Levantine-Greek, and he was much affected by this background.
		Artaud's parents arranged a long series of sanatorium stays for their disruptive son, which were both prolonged and expensive.
		Artaud also recorded his horrific withdrawal from heroin upon entering the land of the Tarahumaras; having deserted his last supply of the drug at a mountainside, he literally had to be hoisted onto his horse, and soon resembled, in his words, "a giant, inflamed gum".
	en.wikipedia.org /wiki/Antonin_Artaud (1799 words)

	Antonin Artaud (1895-1948)
		Artaud symbolized for all the generations in his audience an exceptional fidelity to a very great belief, a life devoted to a cause and an unflinching persistence in extolling the cause.
		Artaud summarized the classical tradition of the French theater, which he found still dominant, as that art which states a problem at the beginning of a play, and solves it by the end.
		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.
	www.theatrehistory.com /french/artaud001.html (1915 words)

	CESNUR 1997 - Antonin Artaud (Bauer)
		Artaud's way of dealing with suffering, madness, silence, and the meaning of the inarticulate voice makes it clear that he is not a thinker that can be easily identified with, appropriated, or applied by readers.
		Since Artaud's meta-apocalypse intends to destroy the hell of that language which mendaciously asserts itself as the place in which truth is manifested, he recurs to the a-theological strategy of subverting the trinitarian soteriology in toto by putting it under the sign of an evil principle.
		Artaud's basic contention is that van Gogh was not a madman, but extra-lucide [49] [extra-lucid], and that he did not commit suicide, for it was society that suicided him, as is already announced in the title of the essay.
	www.cesnur.org /2003/bauer_artaud.htm (4184 words)

	HighBeam Encyclopedia - Artaud, Antonin (Site not responding. Last check: 2007-09-10)
		Artaud's theories of drama, particularly his concept of the "theater of cruelty," greatly influenced 20th-century theater.
		Artaud was afflicted with mental illness from his childhood, and in 1936 he was declared insane; he spent much of the rest of his life in mental institutions.
		Linguistic disenchantment and architectural solace in DeLillo and Artaud.
	www.encyclopedia.com /html/A/Artaud-A.asp (427 words)

	Antonin Artaud! (Site not responding. Last check: 2007-09-10)
		Madman/theorist/philosopher/playwright Antonin Artaud's final work was a radiophonic creation entitled "To Have Done With The Judgment Of God." It was written after several years' internment in psychiatric institutions which roughly corresponded to the duration of WWII.
		During his stay at the asylum, Artaud's behavior was characterized by delusions, auditory hallucinations, glossolalia and violent tantrums.
		The work defies description, and although it was actually 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, the broadcast was cancelled at the last minute by the director of French Radio, Vladimir Porche.
	www.wfmu.org /LCD/GreatDJ/artaud.html (406 words)

	[No title] (Site not responding. Last check: 2007-09-10)
		Artaud was born in Marseilles, France in 1896.
		Artaud tried to associate with other persons working in the theatre in hopes to establish autonomy in established companies, but was unsuccessful in these attempts.
		Briefly, Artaud thought that a theatrical experience should speak a different language from merely words, and the components of this language were all things the theatre has to use, such as props, lights, sounds, and music.
	www.unc.edu /~tmatson/Thesis--Artaud.doc (1238 words)

	Unacceptable Imaginings: Artaud's Medieval Revolution (Site not responding. Last check: 2007-09-10)
		Artaud's production in writing, cinema and theatre has the effect of showing first of all that it is very much a question of the existence of separate sets of rules and secondly that the relations between these sets of rules is by no means fixed or obvious.
		Artaud replied in detail in a piece called 'A la grande nuit ou le bluff surréaliste' and also made a number of pertinent comments elsewhere in his writings.
		There was no doubt in Artaud's mind that Revolution is necessary, but it was not the Revolution supported by the surrealists: 'there are bombs that need to be put somewhere, but at the base of most of the present habits of thought, European or otherwise'.
	www.foucault.qut.edu.au /artaud.html (4758 words)

	'My Life and Times With Antonin Artaud' (NR)
		In fact, massive doses of laudanum and opium are about all that sustain Artaud in his psychic agony, and Mordillat does an extraordinary job of capturing the drug-sick state of agitation and paranoia in which the artist exists.
		Artaud toys shamelessly with his helpmate and supporter, teasing him the way a beautiful woman might tease a love-struck boy.
		As Artaud makes his rounds through the Parisian lower depths, looking for dope and expounding on everything from his own abysmal suffering to the imagined conspiracies of his enemies to his all-or-nothing philosophies on art, Mordillat does a masterly job of evoking the lethargic dissolution, experimentation and promiscuity of bohemian postwar Paris.
	www.washingtonpost.com /wp-srv/style/longterm/movies/videos/mylifeandtimeswithantoninartaud.htm (812 words)

	Amazon.com: The Theater and Its Double: Books: Antonin Artaud (Site not responding. Last check: 2007-09-10)
		Artaud's plea for a theater that would de-emphasize the spoken text and accord more emphasis on light, sound, movement and elaborate combinations of anything non-verbal that could be brought to bear on audiences is part and parcel of the surrealist rejection of theatrical convention.
		Artaud's notion of theater is further undercut by the rise of television, its ubiquity and, in the age of digital electronics and computers, its raw immediacy.
		It took an Artaud to remind Western civilization that theater's roots lay in public spectacle and religious rite and that its estrangement from those roots was killing theater as a living form of art.
	www.amazon.com /exec/obidos/tg/detail/-/0802150306?v=glance (1814 words)

	Antonin Artaud. Biography and complete works
		Artaud's parents were partly Levantine Greek, and he was much affected by this background, especially in his fascination with mysticism.
		Artaud, who believed the movement's strength was extrapolitical, joined another defecting Surrealist, the dramatist Roger Vitrac, in the short-lived Théâtre Alfred Jarry.
		Artaud's own works, less important than his theories, were failures.
	www.booksfactory.com /writers/artaud.htm (344 words)

	ArtandCulture Artist: Antonin Artaud (Site not responding. Last check: 2007-09-10)
		Artaud repudiated all literature written to be performed, all Western traditions, and civilization itself.
		For Artaud, civilization only corrupted the essence of humanity: humankind was ferocious, hungry, and afraid, and all cultural conventions deluded us into thinking otherwise.
		Although he began his career in theater as an actor, his greatest contribution was his collected essays, "Theater and its Double" (1938), in which he posited a "theater of cruelty." He saw the theater as a catalyst that could free the unconscious and force humanity to view itself in all its primitiveness.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/artist?id=66 (275 words)

	COSMIC BASEBALL ASSOCIATION-Antonin Artaud 1998 Cosmic Player Plate
		The "unique theatrical invention" referred to is Artaud's creation of the "Theater of Cruelty." It was an antidote to the "terrible lack of imagination" Artaud perceived in the contemporary western theater of the 1930s.
		Anaïs Nin, who met Artaud in early 1933 was intimate with this madman, although, as she describes it, he was impotent with her.
		Artaud is important to us today because his vision and his illness, so personal and individual has as, Knapp says, become today our "collective malady." The fabric of society and language, so intensely studied by Artaud, has become even more unraveled.
	www.cosmicbaseball.com /artaud8.html (684 words)

	Artaud et le peyotl
		Yet Artaud's whole project was the recreation of himself as an inviolable individual: the restructuring of his own identity by way of a drastic confrontation with the void that terrified a and magnetized him at the same time.
		Artaud was certainly not lacking in ambition, but his practical experience was always small-scale, in the experimental theatres of his time.
		Artaud's genius for me, and the reason why his influence is not yet played out, so that he transcends artistic and cultural fashions, consists in the courage with which he returned again and again to this thematic of the transformation of life.
	www.antoninartaud.org /reinvention.html (5354 words)

	ANTONIN ARTAUD IN THEORY, PROCESS AND PRAXIS
		Artaud's spiritual being, which he equated with the artist in all mankind, was in a state of total anarchy. Yet, according to Zinder, he claimed he wanted to "give form to this formlessness.
		Antonin Artaud died at the age of fifty-two on March 4, 1948, two years after this letter to Breton. "The date should be remembered as that of a new and terrible birth: the moment this body and this mind, riveted together by long agony, parted company, Artaud's real life began.
		Grotowski believed that Artaud was a visionary and prophet who envisioned the expanded dimensions of the actor's physical expression and agrees with Esslin that Artaud left no methodology to fulfill his prophecy.
	www.cyberpagedd.com /gaffield_knight/academic/antonin_artaud.htm (5255 words)

	E-Flux : ARTAUD — A Staged Life - (2005-08-12)
		Under the title of ‘Artaud — A Staged Life’, the museum kunst palast is offering a comprehensive appreciation of the artistic creations of Antonin Artaud (1896-1948) in the form of a ‘montrage’.
		Artaud's furor and passion for the art of acting will be immediately discernible in the exhibit.
		Artaud's radicalism, his constant destruction and recreation of the world, are given physical expression in his drawings.
	www.e-flux.com /displayshow.php?file=message_1123854817.txt (685 words)

	Artaud Antonin by Alice in Theaterland
		Although his play, Les Cenci (The Cenci, 1935), was a failure, his concept of the Theatre of Cruelty, his label for a theater that would assault the representational dynamics of traditional theater and break the boundaries between actor and audience, stage and spectacle.
		Theatre of Cruelty intended to release feelings usually repressed in the unconcious, has been an important influence on modern dramatists such as Camus and Genet and on directors such as Grotowski, Beck, etc. Declared insane 1936, Artaud was confined in an asylum for most of the remainder of his life.
		A theater that induces trance, as the dances of Dervishes induce trance, and that addresses itself to the organism by precise instruments, by the same means as those of certain tribal music cures which we admire an records but are incapable of originating among ourselves».
	www.geocities.com /akatsavou/artaud_en.html (392 words)

	Grotowski - Antonin Artuad and Grotowski
		Artaud died when Grotowski was about 14 years old, so they clearly never met.
		My take on Artaud is that he was very 'out there' with the idea of living life to the fullest, and that led him into cruelty because as you observed it or reacted to it you were at least vitally alive.
		Artaud's theatre might be seen as therapeutic because it entails 'acting out' and might be cathartic for the actor or the audience, breaking free of restrictions that keep one from being fully alive.
	thehotmusical.info /jeff/grotowsa.htm (600 words)

	tHE pHILOSOPHER'S sTONE - Antonin Artaud
		As a child, Artaud suffered from meningitis, and throughout his life he was afflicted with mental disorders.
		Artaud felt that the theatre should give rise to numinous or religious feelings within the audience.
		Artaud's theories influenced such theatre artists as Jean Louis Barrault, Roger Blin, Peter Brook, the Living Theatre, Robert Wilson and the entire movement known as experimental theatre.
	www.patrickgrant.net /philostone_artaud.htm (319 words)

	Highbeam Encyclopedia - Search Results for Artaud,
		Artaud, Antonin ARTAUD, ANTONIN [Artaud, Antonin], 1896-1948, French poet, actor, and director.
		Artaud's theories of drama, particularly his concept of the theater of cruelty,
		As a political exile in Paris between 1928 and 1939, Carpentier was strongly influenced by Antonin Artaud, Jacques Prévert, and the surrealists.
	www.encyclopedia.com /SearchResults.aspx?Q=Artaud, (439 words)

	My Life and Times with Antonin Artaud
		Artaud's relationship with Colette the actress is left ambiguous, like much of the metaphoric language that the poet excels at.
		Meanwhile Prevel continues to walk the walk with Artaud, listen to his stream-of-consciousness (or is it vomit) with the dead-pan rapture of a nicotine zombie.
		Artaud died in 1948, a month after his war-guilt radio play To Have Done With The Judgement of God was broadcast to an indifferent public, his manisfestos misunderstood, his exorcism withheld.
	www.culturecourt.com /F/Art/Artaud.htm (1143 words)

	Antonin Artaud, The Theatre and its Double (1938)
		Artaud's idea of "cruelty": a mode in which one is shocked bodily into an awareness of the undomesticated or the uncanny.
		If words "arrest and paralyse thought" it may be possible, as Artaud hoped, to substitute "for the spoken language a different language of nature, whose expressive possibilities will be equal to verbal language": a theatre of visual movement and of the body.
		This sense, Artaud never allows us to ignore, is a sense that must arise from a bodily being in the world.
	homepages.tesco.net /~theatre/tezzaland/webstuff/ArtaudPres.html (1156 words)

	My Life and Times with Antonin Artaud (Site not responding. Last check: 2007-09-10)
		Artaud strings Prevel (played intensely by Marc Barbe) along as a mentor poet just to get him to score opiates for him.
		Artaud, who is obsessed with drugs, acting, sex, his legacy and incarceration, has a coterie of disciples that moves around him like marionettes.
		There is a wrenching scene where Artaud sadistically orders an actress to repeat her lines until her throat and emotions are so raw she is psychologically scarred.
	www.culturevulture.net /Movies13/Artaud.htm (535 words)

	HighBeam Encyclopedia - Artaud, Antonin (Site not responding. Last check: 2007-09-10)
		Artaud's most important work is Le Théâtre et son double (1938, tr.
		Antonin Artaud: la crueldad y la cosa teatral.(dramaturgo)
		La conquista de MÃ©xico: basada en una obra de Antonin Artaud, la Ã³pera La conquista de MÃ©xico, del alemÃ¡n Wolfgang Rihm, se representÃ³ el mes pasado en el marco del Festival Cervantino.
	www.encyclopedia.com /html/A/Artaud-A1.asp (427 words)

	The True Story of Antonin Artaud (Site not responding. Last check: 2007-09-10)
		The companion documentary on Artaud also directed by Mordillat (with Jerome Prieur) is less the nonfiction treatment of Artaud than a slapdash appendix to the other film.
		There are momentary and fascinating snatches of archival audio from Artaud himself and glimpses of his paintings that might be of interest to film historians and actors.
		Artaud speaks of his "therapy" as “a slow death.” The same could be said for this petrified film tribute.
	www.culturevulture.net /Movies13/Artaud(2).htm (268 words)

	U B U W E B :: Antonin Artaud
		It was the controversy surrounding this conference a few months earlier, and the rumours (including certain articles in the press) already in circulation on the broadcast in production, which in all likelihood attracted the attention of the Director-General of the Radio to the point that he asked for the recording.
		By Artaud's request, a second private transmission of the broadcast was organised by Fernand Pouey, before he definitively left his post, for a certain number of people who were absent on February 5.
		For further information on Artaud and the theatre in general, notably the manifesto of the theatre of cruelty, refer to Le théâtre et son double.
	www.ubu.com /sound/artaud.html (891 words)

	The Thresher Online: Artaud biography rages around Paris (March 29, 1996) (Site not responding. Last check: 2007-09-10)
		Antonin Artaud, founder of the Theater of Cruelty in the '20s, is the sickly poet, surrealist, playwright and madman who rants about sex, art and the world that's against him.
		Near death and loaded on opiates, Frey plays an Artaud who is death in motion with a sickly pale skin that is overshadowed only by the intensely dark bags under his eyes.
		Amid the haze of his chain smoking, Artaud spouts incoherent phrases of what seems to be absurd nonsense but is actually his world of incomprehensible pain and anguish.
	www.rice.edu /projects/thresher/issues/83/960329/AE/Story2.html (606 words)

	Antonin Artaud and the Modern Theater - PowerBookSearch!
		The role that comedy plays in Artaud's conception of theater is examined as well as the concepts of cruelty and cure, explicating how Artaud used these terms in relationship to the metaphor of the theater as plague.
		Various influences on Artaud's theories of drama are discussed as is the influence of Mayan culture and Balinese rituals.
		Artaud's theories on Oriental theater are applied to modern cultural anthropology and to absurdist drama.
	www.powerbooksearch.com /booksearch0838635504.html (200 words)

	Interactive Archive: Antonin Artaud (Site not responding. Last check: 2007-09-10)
		Born to a well-off merchant family, Artaud, one of the most important figures in twentieth-century drama, battled mental illness for most of his life, perhaps stemming from a case of meningitis he had when he was five.
		In 1919, Artaud began taking laudanum as a treatment and became addicted to it until he died.
		The ideas behind the Theater of Cruelty were articulated by Artaud in Théâtre et son double (Theater and its Double), published in France in 1938 but waiting twenty years, until John Cage would introduce the text to its eventual translator, Mary Caroline Richards, before it appeared in English.
	www.alternativetheater.com /cgi-bin/int_archive/entry_index.cgi?ARC_ID=00043 (216 words)

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