Antonin Artaud

Theatre of Cruelty was developed by Antonin Artaud to show to audiences that the theatre wasn't necessarily an escape from the world but actually realisation of their worst nightmares and deepest fears. I believe both groups did this extremely well even though one was more subtle than the other. Each group used various techniques to enhance and manipulate the atmosphere of the performance. In the first piece we watched, the audience was blindfolded and lead into a room. There use of space and…

dramatic techniques, especially light and sound, were very shocking and many in the audience jumped at the noise and bright lights. Here the director, Robert Icke and Duncan MacMillan clearly utilised conventions of Theatre of Cruelty, developed by Antonin Artaud, to physiologically manipulate the audience and share the feeling of the horror in the world depicted. The scene changes were incredibly quick and the smooth transitions of actors and properties reflected the quality of the…

It is the most central to their collaborative work Capitalism and Schizophrenia, though Deleuze uses it decades prior, and the phrase comes from a radio play by Antonin Artaud. In brief, the body without organs (or BwO) is best understood as their way of conceptually emphasizing dimensions of embodiment beyond organization, or in other words of looking at how different kinds of bodies become organized, rather than thinking…

accepts it as a real environment. It is all about sensory experience, which includes virtual taste, sight, sound, smell, and touch. The origin of the term "virtual reality" can be traced back to the French playwright, poet, actor, and director Antonin Artaud. He claimed that the "perpetual allusion to the materials and the principle of the theater found in almost all alchemical books should be understood as the expression of an identity [...] existing between the world in which the characters,…

Theatre is a revelation as it unveils the drama of human life and emotions in a society warped by injustice and oppression. Theatre’s ability to plumb the depths of human psyche in this oppressive and corrupt world makes it a strong voice for addressing the suffering and the angst of the individual suffocated in the terrible grip of control and exploitation. In doing so, theatre not only problematizes contemporary socio-cultural issues but also provokes critical thoughts on conflicts, dilemmas,…

altering our general emotional state. Catharsis would describe the proper result of the tragic plot. In a suggestive reworking of this reading, the twentieth-century French playwright Antonin Artaud reimagines theatre as a plague that brings forth ‘all the perverse possibilities of the mind’ (1958: 30). For Artaud, the aim of catharsis is metaphorically to sicken the audience, not to cure it. These disputes over the meaning of catharsis are unlikely to be answered in any definitive way.…

INTERPLAY OF SOCIO-CULTURAL FORCES AND PSYCHO-SEXUAL MOTIVATIONS IN THE PLAYS OF VIJAY TENDULKAR AND BALWANT GARGI Abstract: The purpose of the present paper is to study the plays of Vijay Tendulkar and Balwant Gargi to understand the tragic plight of suffocated individuals at the mercy of oppressive socio-cultural forces and hidden psycho-sexual desires. The plays of Tendulkar and Gargi depict the collapse of human life and desires under dysfunctional moral values and corrupt…