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Topic: Theatre of Cruelty


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In the News (Mon 18 Dec 17)

  
  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.
The theatre is not concerned with the total clarity that comes from a possession of the object any more than it is with imitation, he insists.
What the theatre does, rather, is to aid this transformation, by locating in the outer event the sources that speak to the body and swelling these out or taking them to their limit.
homepages.tesco.net /~theatre/tezzaland/webstuff/ArtaudPres.html   (1156 words)

  
  Antonin Artaud (1895-1948)
His most cherished dream was to found a new kind of theatre in French which would be, not an artistic spectacle, but a communion between spectators and actors.
As in primitive societies it would be a theatre of magic, a mass participation in which the entire culture would find its vitality and its truest expression.
These were the immediate origins of his conception of the Theater of Cruelty for which he wrote the First Manifesto in 1932 and the Second Manifesto in 1933.
www.theatrehistory.com /french/artaud001.html   (1915 words)

  
 Antonin Artaud and the “Theatre of Cruelty”   (Site not responding. Last check: 2007-10-28)
The second, better known example is the “Theatre of Cruelty”, which was developed partly in parallel with the “Grand-Guignol” and the Surrealist movement.
After separating from Vitrac he founded the “Theatre of Cruelty” in 1935, in which terror and pain were integrated as vital parts of the concept.
The methods used to deliver this brutal lesson are based on a theory of generating a series of shocks, effected by the collision of images, sounds, and savage acts conveyed in a primarily non-verbal, synaesthetic language as Sergei Eisenstein discovered in the film, and which Artaud hoped to establish in the theater” (Rockett 1988: 57f).
www.deutsches-filminstitut.de /collate/collate_sp/se/se_05_02.html   (462 words)

  
 Theatricalizing Politics / Politicizing Theatre   (Site not responding. Last check: 2007-10-28)
We used to compare the local political life to “theatre of the absurd” and describe the downfall of the country as “tragedy” and “theatre of cruelty.” In return, one of the most valued qualities of the local theatrical tradition and activity has been its capacity for political subversion.
All these political and paratheatrical events (and many more throughout the history of both politics and theatre) highlight the variety and richness of the repertoire of political protest as spectacle, suggesting that the links between politics and theatre are endless.
Theatre asserts itself through the grouping of bodies as they map the space of their activity, through the protagonist–antagonist relationship between the protestors and the power structure and through a delineation between participants and onlookers (police surrounding the event, world media, etc.).
www.utpjournals.com /product/ctr/103/103_Jestrovic.html   (3263 words)

  
 BBC - h2g2 - Antonin Artaud and Absurdist Theatre - A6560714
Theatre should be a mirror of life, but enhanced and taken to an extreme; there should be no limits in achieving an emotional response.
The phrase Theatre of Cruelty was coined by him as a drastic action taken to its most extreme effect on stage.
As mentioned before, the language of the Theatre of Cruelty is not always a recognisable human language and often seeks to replace it.
www.bbc.co.uk /dna/h2g2/alabaster/A6560714   (1241 words)

  
 London Theatre Tickets - Theatre Guide
A "Best Musical" winner that satirizes the media and the legal system when Roxie Hart murders her boyfriend and then uses her sensationalized trial to propel her to stardom.
Cinderella is a tale of passion, jealousy, cross-dressing, injustice, chocolate, madness, cruelty, ice-cream, hatred, revenge, jelly, unrequited love, envy, tarts, forgiveness, music, laughter, hope, redemption and most importantly of all, love.
Boeing-Boeing is the side-splitting farcical comedy that held the world record for being the longest running comedy in London's West End when it originally opened in London in the mid-1960s.
theatertheatre.com /london/guide/ldnListing.htm   (1118 words)

  
 TheaterCruel
How-ever, from the point of view of action, one cannot compare a cinematic image which, however poetic it may be, is limited by the film, to a theatrical image which obeys all the exigencies of life.
CRUELTY: Without an element of cruelty at the root of every spectacle, the theater is not possible.
A Tale by the Marquis de Sade, in which the eroticism will be transposed, allegorically mounted and figured, to create a violent exteriorization of cruelty, and a dissimulation of the remainder.
www.english.emory.edu /DRAMA/HistDrama2/TheaterCruel.html   (2514 words)

  
 Antonin Artaud - Wikipedia, the free encyclopedia
He admired Eastern theatre because of the codified, highly ritualized physicality of Balinese dance performance, and advocated what he called a "Theatre of Cruelty".
The Theatre of Cruelty has been created in order to restore to the theatre a passionate and convulsive conception of life, and it is in this sense of violent rigour and extreme condensation of scenic elements that the cruelty on which it is based must be understood.
This cruelty, which will be bloody when necessary but not systematically so, can thus be identified with a kind of severe moral purity which is not afraid to pay life the price it must be paid.
en.wikipedia.org /wiki/Antonin_Artaud   (1750 words)

  
 Theoretician   (Site not responding. Last check: 2007-10-28)
He traveled because he wanted to belong to a theatre troupe most of all, however all directors and other administers of troupes found him too eccentric with his "total" theatre.
While trying to deal with what he thought theatre was, he witnessed a Barong Trance Dance and envisioned everything which became his theory of Theatre of Cruelty.
Theatre should express life in its universal aspect, and from life find and use images which we find pleasure in discovering ourselves.
www.angelfire.com /ultra/report/main.html   (1535 words)

  
 Antonin Artaud
By cruelty, he meant not sadism or causing pain, but rather a violent, physical determination to shatter the false reality which, he said, lies like a shroud over our perceptions.
The Theatre of Cruelty has been created in order to restore to the theatre a passionate and convulsive conception of life, and it is in this sense of violent rigour and extreme condensation of scenic elements that the cruelty on which it is based must be understood.
This cruelty, which will be bloody when necessary but not systematically so, can thus be identified with a kind of severe moral purity which is not afraid to pay life the price it must be paid.
www.languageisavirus.com /bios/Antonin_Artaud.htm   (1739 words)

  
 Philament Issue 4: Daniel Johnston - Manual Metaphysics: Philosophy and Theatre
"The Theatre of Cruelty" was the name he gave to this vision for theatre practice that revolted against the domination of words and text.
This raises the possibility that theatre may be able to represent truth not in the intellect, but in the 'unhiddenness' of the world.
Theatre is the medium for manual philosophy through a poetry of 'unhiddenness': "[T]his language which develops all its physical and poetical effects on all conscious levels and in all senses, must lead to thought adopting deep attitudes which might be called active metaphysics."
www.arts.usyd.edu.au /publications/philament/issue4_Commentary_Johnston.htm   (3404 words)

  
 TheatreBooks -- Theatre: Criticism, Theory & History: New & Featured
Henrik Ibsen's standing as a founder of modern theatre is unquestioned; yet to many he is seen as a dull realist, with little significance to the nineteenth-century's larger cultural trajectory.
Covering early English theatre from the earliest recorded vernacular texts in the late medieval period to the closing of the theatres in 1642, this introduction gives an accessible overview of the historical development of theatre.
Theatre remains a place and a practice in which pressing questions of political and personal identity, desire, imagination and dissent can be explored.
www.theatrebooks.com /theatre/criticism_theory_history.html   (6508 words)

  
 Theatre of Cruelty - Wikipedia, the free encyclopedia
The Theatre of Cruelty is a concept in Antonin Artaud's book Theatre and its Double.
By cruelty, he meant not sadism or causing pain, but rather a violent, physical determination to shatter the false reality which, he said, lies like a shroud over our perceptions.
The Theatre of Cruelty was Artaud's attempt to not only revolutionize theatre, but also it was his attempt to free l'esprit (roughly translated to mean the combination of mind and soul) from the stifling grip of culture.
en.wikipedia.org /wiki/Theatre_of_Cruelty   (222 words)

  
 Traditional Theatre in Southeast Asia (Monograph)   (Site not responding. Last check: 2007-10-28)
Specific theatre forms which, transplanted into Southeast Asia from elsewhere, continue to be performed in their original styles or with adaptations to suit the new environments.
As the whole question of theatre origins is, however, clouded by numerous theories and fiery controversies, it has been thought prudent to save it for discussion at a more appropriate place where it can be given the detailed attention it merits.
While court theatre, refined and sophisticated, entertained a small and presumably cultured coterie, the less polished, rustic and oftentimes downright crude folk theatre catered for supposedly uncultured villagers in private or community situations.
www.theasiancenter.com /images/asian00/monograph.htm   (6240 words)

  
 Theatre Experiments, 2005-06 Production
He admired Eastern theatre because of the codified, highly ritualized physicality of Balinese dance performance, and advocated what he called a "Theatre of Cruelty." By cruelty, he meant not sadism or causing pain, but rather a violent, physical determination to shatter the false reality which, he said, lies like a shroud over our perceptions.
This cruelty, which will be bloody when necessary but not systematically so, can thus be identified with a kind of severe moral purity which is not afraid to pay life the price it must be paid." —Antonin Artaud, The Theatre of Cruelty, in The Theory of the Modern Stage (ed.
The 1930's saw the publication of The Theatre and its Double, as well as the release of Artaud's only theatrical production: The Cenci, The Cenci was a commercial failure as the audience did not respond favorably to his Theatre of Cruelty.
www.washburn.edu /cas/theatre/0506season/TheatreExperiments.html   (1158 words)

  
 Eight Songs for a Mad King: Madness and the Theatre of Cruelty   (Site not responding. Last check: 2007-10-28)
If French theatre had become a complacent and uninspired artifice, cruelty was the device with which Artaud sought to reverse this and to inflict the full power of theatre on his audience.
The word "cruelty" must be taken in a broad sense [...] cruelty signifies rigour, implacable intention and decision, irreversible and absolute determination[...] Cruelty is above all lucid, a kind of rigid control and submission to necessity.
For me, the question we are faced with is of allowing theatre to rediscover its true language, a spatial language, a language of gestures, a language of cries and onomatopoeia, an acoustic language...which ha[s] as much intellectual weight and palpable meaning as the language of words.
www.maxopus.com /essays/8songs_m.htm   (2571 words)

  
 Derrida - "The Theater of Cruelty and the Closure of Representation"
Derrida seeks to define (scope) the theatre of cruelty.
Cruelty is about recognizing death (and thus life), the point beyond the void.
The goal is to rid theatre of producing a space that is about absence (representation, interpretation).
www.zephoria.org /alterity/archives/2005/02/derrida_the_the.html   (598 words)

  
 The Internet and Theatre Styles
His Poor Theatre style of drama was very popular during the 1960's and '70's and was imitated by theatre troupes around the globe.
Artaud's theatre is somewhat anti-literary (does not rely on the text to communicate meaning to the audience) and is primarily a loud and often violent movement-based experience which shocks the audience's senses.
His theatre knows no boundaries and is as relevant for the people living in the slums of Rio to teenagers in the schools of Australia.
www.theatrelinks.com /style.htm   (2053 words)

  
 Urban Dictionary: theatre
Theatre is where you go to see a play or live acting.
It is essentially a space that embraces the potential to hold the imagination of any vision or idea of a director.
real theatre is les miserables, which i love, wicked, which i'm going to see, and stuff like the phantom.
www.urbandictionary.com /define.php?term=theatre   (417 words)

  
 Theatre of Cruelty
"Theatre of Cruelty" was originally written for the W.
This online version of the story is made available on the Net by kind indulgence of the author, who reserves all reproduction and other rights to the story.
"Theatre of Cruelty is, for want of a better word, freeware.
www.area51b.freeserve.co.uk /dworld/theatre.htm   (981 words)

  
 The Methuen Bookshop > Artaud's Theatre of Cruelty by Albert Bermel   (Site not responding. Last check: 2007-10-28)
The Methuen Bookshop > Artaud's Theatre of Cruelty by Albert Bermel
Antonin Artaud's theatre of cruelty is one of the most vital forces in world theatre, yet the concept is one of the most frequently misunderstood.
Tracing the theatre of cruelty's origins in earlier dramatic conventions, tribal rituals of cleansing, transfiguration and exaltation, and in related arts such as film and dance, Bermel examines each of Artaud's six plays for form and meaning, as well as surveying the application of Artaud's theories and techniques to the international theatre of recent years.
www.methuenbookshop.co.uk /shop/product.php/717/0   (248 words)

  
 [No title]   (Site not responding. Last check: 2007-10-28)
THEATRE OF CRUELTY A Discworld short story By Terry Pratchett It was a fine summer morning, the kind to make a man happy to be alive.
And probably the man *would* have been happier to be alive.
--------------------------------------------------------------------------- "Theatre of Cruelty" was originally written for the W. Smith "Bookcase" magazine.
www.astro.umd.edu /~dcr/DCR/TheatreOfCruelty   (1067 words)

  
 tHE pHiLOPSOPHER'S sTONE - Artaud & The Balinese Theater
What so impressed Artaud about the Oriental and especially the Balinese theatre was the importance accorded to gesture and facial expressions and the relatively unimportant role delegated to the spoken word.
He described the impact of the physical action on stage and its effect upon man's conscious; the emergence of the latter not only by means of the spoken word, but also by means of gestures, which should be looked upon as a kind of hieroglyphic or symbol.
Furthermore, since the theatre, Artaud felt, should be looked upon as a religious ritual and the prima materia of religions are: he advocated a theatre based on myths.
www.strangemusic.com /philostone_balinese.htm   (951 words)

  
 Vakhtangov: Directing Theatre -- StageMatrix
Vakhtangov was a student at the Moscow Art Theatre; and his most accessible pronouncements, in Acting: a Handbook of the Stanislavsky Method, compiled by Toby Cole (New York, Lear, 1947), leave the impression that he was wholly dedicated to Stanislavski’s ideas.
Stylised theatre was necessary in order to break down and do away with theatrical vulgarity.
Emotion in theatre and in life is the same thing, although the means for conveying this emotion are different.
www.vtheatre.net /directing/vakht.html   (2157 words)

  
 News February 2007
A ruthless thug who happens to love Weill's music and the musicians and performers who present it, Mack is the trickster and catalyst for the events that helped shape the destiny of the world.
The Workshop will be an intensive mind and body experience stepping out of the play pit of theatre and onto the precipice between life and art.
The Dialectics of Cruelty in Theatre and History will be presented in November.
www.shadowhousepits.com.au /whatsnew.htm   (394 words)

  
 The Theatre Archive Project - interviews - Tony Dunn (page 3)
I have also got some notes on a thing that I think emerges very much in the theatre in that period, and that is Sade’s important point that he is discovered lying in the isolated misery of the Bastille that - and this is a quote from the play - 'Only bodies matter.
That is a reservoir of such cruelty that it must continually be battered and chastised to reach any state of human warmth.’ Thus Sade links - long before Camus and Artaud - the doctrines of the theatre of the absurd and the theatre of cruelty.
My next note is rather neat but somewhat superficial, however I did go to the Theatre of Cruelty season at the LAMDA in 1963.
www.bl.uk /projects/theatrearchive/dunn3.html   (1436 words)

  
 The What Factory -- Theatre Company
Through the creation of the Theatre Of Cruelty, Artaud sought to challenge the audience’s expectations of the theatre.
Making use of physical theatre practices inspired by Gecko and the David Glass Ensemble in a combination with exercises and work we had previously done, we created a performance with the aim of a total theatre experience.
Inspiration was drawn from naturalism for the script and speech and theatre of Complicite for set and style Ideas also came from the theatre of cruelty.
www.freewebs.com /the_what_factory/picturesandpastprojects.htm   (621 words)

  
 The Art of Pure Possibility: The Theatre of Cruelty and The Cinema of Safety
She goes on to write of the contrasts between cinema, poetry, and theatre: "Unlike poetry, an art made out of one material (words), theater uses a plurality of materials: words, light, music, bodies, furniture, clothes.
This is because it was necessary for the Theatre of Cruelty, being a THEATRE, not to allow the stage to be "forsaken," or "given over to improvisatory anarchy," and for everything to be "PRESCRIBED in a writing and text whose fabric will no longer resemble the model of classical representation" (Derrida, p.
This is possible because, in the Theatre of Cruelty, "the LOGICAL and discursive intentions which speech ordinarily uses in order to ensure its rational transparency, and in order to purloin its body in the direction of meaning, will be reduced or subordinated" (Derrida, p.
members.tripod.com /~vidagnosis/possibility.html   (1107 words)

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