The Theatre and Its Double

The Theatre and Its Double First published in The Theatre and Its Double is a collection of essays detailing Antonin Artaud s radical theories on drama which he saw as being stifled by conservatism and lack of experiment
  • Title: The Theatre and Its Double
  • Author: Antonin Artaud
  • ISBN: -
  • Page: 337
  • Format: Kindle Edition
  • First published in 1938, The Theatre and Its Double is a collection of essays detailing Antonin Artaud s radical theories on drama, which he saw as being stifled by conservatism and lack of experimentation It contains the famous manifestos of the Theatre of Cruelty , analyses the underlying impulses of performance, provides some suggestions on a physical training methoFirst published in 1938, The Theatre and Its Double is a collection of essays detailing Antonin Artaud s radical theories on drama, which he saw as being stifled by conservatism and lack of experimentation It contains the famous manifestos of the Theatre of Cruelty , analyses the underlying impulses of performance, provides some suggestions on a physical training method for actors and actresses, and features a long appreciation of the expressive values of Eastern dance drama Also included is Seraphim s Theatre , in which Artaud attempts an actor s application of the Taoist principles of fullness and emptiness This groundbreaking text is widely read throughout the world for the beauty of its style and as a source of inspiration for new drama, and will appeal to those in search of the essence of theatre.
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    2 thoughts on “The Theatre and Its Double

    1. Antoine Marie Joseph Artaud, better known as Antonin Artaud, was a French playwright, poet, essayist, actor, and theatre director.Considered among the most influential figures in the evolution of modern drama theory, Antonin Artaud associated himself with Surrealist writers, artists, and experimental theater groups in Paris during the 1920s When political differences resulted in his break from the Surrealists, he founded the Theatre Alfred Jarry with Roger Vitrac and Robert Aron Together they hoped to create a forum for works that would radically change French theatre Artaud, especially, expressed disdain for Western theatre of the day, panning the ordered plot and scripted language his contemporaries typically employed to convey ideas, and he recorded his ideas in such works as Le Theatre de la cruaute and The Theatre and Its Double Artaud believed that theatre should represent reality and, therefore, affect the audience as much as possible, therefore he used a mixture of strange and disturbing forms of lighting, sound, and other performance elements.Artaud wanted to put the audience in the middle of the spectacle his term for the play , so they would be engulfed and physically affected by it He referred to this layout as being like a vortex a constantly shifting shape to be trapped and powerless.

    2. Art is that which utters what cannot be uttered instinct Julia KristevaA book that reveals theater albeit in fragments and under a strong sense of surrealistic visions It s a black flow of subversive thought very rapid and the pace of the text is an infernally bruised, demoniacal serenade What else is there to say A lot Not only does one experience the text as a kind of Holy Grail and that term seems so appropriate after learning Artaud had a strong sense of humor But one, after reading, lives a [...]

    3. Hrvatski centar ITI UNESCOZagreb, 2000.Preveo Vinko Grubi i Izvorno objavljeno 1938.Ocjenu sam dao oslanjaju i se prete ito na sadr aj, s time da je stil jako kvalitetan U vezi jezika valja re i da je sve pisano esejisti kim stilom koji je, u nekim teorijskim tekstovima, toliko isprepleten s knji evnoumjetni kim stilom da se neki teorijski tekstovi mogu smatrati i knji evnim djelima, posebice tekst Kazali te i kuga Jezik je jednostavan i razumljiv Artaud je posjedovao izniman i ivopisan duh, iz [...]

    4. Artaud faz uma Cr tica ao teatro verbal do ocidente que n o se utiliza da metaf sica dos gestos ,que nunca soube utilizar a m sica para fins dram ticos ,n o faz uso de movimentos ,formas, cores, vibra es, atitudes e gritos Elogia o teatro oriental que se utiliza de tudo citado acima Artaud admira o teatro de Bali com toda a sutileza dos gestos , nas modula es variadas das vozes, m sicas e m micas Critica os diretores ocidentais que seriam eliminadores de atores, enquanto os diretores orientais s [...]

    5. I just re read a little of this After finishing Strip City I wanted something to read while hanging around the house one day but couldn t decide what to start next so I went with a little out of Theatre It is one of my all time favorite peices of writing.I ve picked this book apart so many times that this time I decided just to enjoy the words Artaud had a way with words that I haven t found anyone else close to Take for example this paragraph from The Theatre and The Plague my personal favorite [...]

    6. This is one of those books that seems cursed by having been too influential Some of the arguments, presumably ground breaking at the time, have been so thoroughly absorbed in later theoretical and artistic developments that they seem obvious The end result is a book that feels repetitive and rather banal The message may be trivial, but Artaud s writing is lively He covers Balinese theater, Kabbalah, Aztec culture, and the Black Death not in the manner of an eclectic scholar, but rather like some [...]

    7. A solid manifesto, trying to save the theatre from the fetters of the written text Artaud s point is that the theatre should be above the text and reclaim the performance space in favor of addressing the senses In this book, he suggests a new drama that he calls The Theatre of Cruelty where actors and directors aim to distress the audience rather than telling psychological stories about characters, which is the domain of literature The theatre according to Artaud has been subordinated by literat [...]

    8. Following a lengthy discursive diatribe on plagues, Artaud gets to his metaphor theater is like a plague Both hit you in the lungs and mind They each grab and twist, taking over, and whereas the plague will kill you, theater, if done to Artaud s specifications, captures the breath and liberates the mind Liberate it from what Who knows.Artaud thinks of theater as a venue to play out the perverse possibilities of the mind To those who think that s dark and morbid, Artaud says that s life s fault, [...]

    9. Newer Review Apparently the first time I read this I rather enjoyed it, but this time I was really put off by the racism, especially in essays like The Balinese Theatre But I also disliked this essay because I simply have no idea what he s talking about I mean, I have a sense of how Balinese performance works and what it generally looks like, but Artaud s explanation of it is so bizarre and dependent on generalizations about a shared communal response that his explanation simply doesn t make sen [...]

    10. And if there is still one hellish, truly accursed thing in our time, it is our artistic dallying with forms, instead of being like victims burnt at the stake, signaling through the flames Antonin ArtaudActor, director, playwrite, critic and overall rennaisance madman, Antonin Artaud he was in the Dreyer version of Joan of Arc, which I donated to Citizen Video in South Park rent it outlines his idea for a Theater Of Cruelty 13 impassoined and incendiary manifestos Artaud grew obsessed with the tr [...]

    11. Whether you study the theater professionally or are just interested in learning something new about it, you ll enjoy this book thoroughly Not all of Artaud s positions are acceptable for me For example, I do not agree that the Oriental theater is superior and invocative just because it is about the spiritual conflicts The Occidental Western theater, the theater of psychological conflicts based on spoken language, could acquire the same incantation, depending of actors professionalism and direct [...]

    12. Artaud was a silly dilettante, and his writings on the Balinese theatre are textbook examples of orientalism He imagines it as some pre civilization romance about spiritual ideals with which we ve since lost touch Artaud hates art, culture, tradition, convention, and reality, because they stand for conformity I m not exaggerating he calls even reality conformism He even hates Shakespeare , who he prefers to stage in period costume but without any text All Artaud s emphasis on symbolism, pantomi [...]

    13. this book should be read, closely read, re read, and taken seriously by anyone who ever takes theatre seriously as an artform, a means of communication, a way of life, or the only thing we ve ever done besides procreating, defecating, and dying s written by a total lunatic who s thoughts and precision cannot be dismissed because of his insanity to the contrary, his particular mental disturbances so sharpen his thoughts, that, at the very least, they need be considered, if not pored over with gre [...]

    14. Concept for a new play, the centrepiece of a newly formed Theatre of Cruelty A world in which privileged, overbearing, pseudo intellectuals consider it proper to judge the artistic legitimacy of a man who believes that Neither Heaven nor Hell, if they exist, can avail against the brutality they have imposed upon me, perhaps so that I may serve them Hell does exist and it consists of this man endlessly reading reviews by said charlatans who, unknowingly, give credence to the man s heart wrenching [...]

    15. Artaud argues that theater has become subordinate to the text and that the mise en scene and spectacle need to be privileged in his revolutionary call for a theater of cruelty He calls for a new language, not one of words, but one of signs in which words are still used, but not solely for their grammatical meanings words instead should be chosen for their sonority and vibrational qualities I was alternately fascinated by Artaud s vision and suspicious that it s possible Conclusion it s possibleo [...]

    16. This book is to the theatre as Alfie Kohn s Unconditional Parenting is to parenting So many of the sacred Myths keeping the theatre from its potential exist today as much as they did when Artaud and Brecht were writing This is a masterpiece essential to a reading list for any first year theatre student In the true theater a play disturbs the sense s repose, frees the repressed unconscious, incites a kind of virtual revolt which over can have its full effect only if it remains virtual , and impos [...]

    17. I disagree wholesale with pretty much everything Artaud has to say and his philosophies usually produce the kind of insufferable pretentious theatre nobody outside of an art school can stand but this is still essential reading for any serious theatre student The last chapter on actor as athlete Is particularly worthwhile.

    18. Hard to beat Artaud helps keep my crazy idealism alive in the face of pragmatism Any time I start to forget what I m all about, I ll pick up a freaky little essay and say, that s what s up.

    19. Artaud era de fato um louco reacion rio, mas o seu estilo de escrita e argumenta o s o timos Muitas de suas ideias continuam v lidas, mesmo com o radicalismo que incutiam.

    20. If our lives lack fire and fervour, that is to say continual magic, this is because we choose to observe our actions, losing ourselves in meditation on their imagined form, instead of being motivated by them.This took me seven months to get through, but that excerpt unpacked everything for me.

    21. Het theater in het Westen van deze tijd jaren dertig van de vorige eeuw legt te veel de nadruk op het geschreven woord en dit om meestal thema s van psychologische aard te behandelen , waarbij de regisseur van het toneelstuk onderdanig is aan de tekst van de auteur Het theater moet echter een Gesamtkunstwerk m r g n spektakeltheater zie hieronder zijn een aanval van op alle vlakken en dit op alle zintuigen van de toeschouwers met inbegrip van het onderbewuste en de ziel De toneelacteur zijn acte [...]

    22. Fascinating, critical, turbulent, insightful Provides invaluable perspective and criticism for literary artists.

    23. It is with great sadness that I report such tragedy T is rather pathetic walking down London s west end, the stage of theatre The place where such a collaborative form of art should be respected and showcased in all its beauty and value Nothing than Life is Perfect and There Is Nothing Wrong In This World musicals More and outdated Shakespearian dramas Nothing like Jean Paul Sartre s No Exit , or Becket s Waiting for Godot I myself am nostalgic to an authentic, innovative, original artistic ad [...]

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