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2000
Antonin Artaud (1896–1948) is an artwork of the French theatre who has influenced other artworks. The periods concerned are, respectively, between the first and second major European wars of the twentieth century when Artaud was active, largely in Paris, and from 1960 onwards, when his influence has been active.
Jane Milling, Graham Ley
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Antonin Artaud (1896–1948) is an artwork of the French theatre who has influenced other artworks. The periods concerned are, respectively, between the first and second major European wars of the twentieth century when Artaud was active, largely in Paris, and from 1960 onwards, when his influence has been active.
Jane Milling, Graham Ley
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The Tulane Drama Review, 1966
Since his death eighteen years ago, Artaud's fame has steadily increased. Everyone claims him as predecessor; literary magazines and theatre programs propagate his name; he is quoted as having said things which he never said and he is used as a front for the worst eccentricities.
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Since his death eighteen years ago, Artaud's fame has steadily increased. Everyone claims him as predecessor; literary magazines and theatre programs propagate his name; he is quoted as having said things which he never said and he is used as a front for the worst eccentricities.
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2004
With Brecht and Meyerhold, Antonin Artaud was one of the great visionaries of twentieth-century theatre, best known perhaps for what he called the "Theatre of Cruelty." This revised and updated edition of Artaud on Theatre contains all of his key writings on theatre and cinema from 1921 to his death in 1948, including new selections which have never ...
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With Brecht and Meyerhold, Antonin Artaud was one of the great visionaries of twentieth-century theatre, best known perhaps for what he called the "Theatre of Cruelty." This revised and updated edition of Artaud on Theatre contains all of his key writings on theatre and cinema from 1921 to his death in 1948, including new selections which have never ...
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The Tulane Drama Review, 1963
With the intransigence of an innovator who feels himself inspired, Antonin Artaud, by an imperious gesture of the pen, by an imperious gesture of the mind, wrote off about two thousand three hundred years of theatre.Of Western theatre.We are in the early thirties.
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With the intransigence of an innovator who feels himself inspired, Antonin Artaud, by an imperious gesture of the pen, by an imperious gesture of the mind, wrote off about two thousand three hundred years of theatre.Of Western theatre.We are in the early thirties.
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Deleuze Studies, 2016
In the later Artaud's perception of existence as perpetual cosmological combat, one of his principal weapons is the scream. His deployment of this scream matures in the 1946–8 radio recordings, especially in To Have Done with the Judgement of God, which he saw as a successful ‘mini-model’ of the Theatre of Cruelty.
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In the later Artaud's perception of existence as perpetual cosmological combat, one of his principal weapons is the scream. His deployment of this scream matures in the 1946–8 radio recordings, especially in To Have Done with the Judgement of God, which he saw as a successful ‘mini-model’ of the Theatre of Cruelty.
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2014
So far this book has been concerned with the text and the gesturing body in their physical, material dimensions. Chapter 1 argued that thought for Artaud is a material force that plays out through text in ways that exceed what might be understood as representative language.
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So far this book has been concerned with the text and the gesturing body in their physical, material dimensions. Chapter 1 argued that thought for Artaud is a material force that plays out through text in ways that exceed what might be understood as representative language.
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1989
Artaud’s cherished dream was to found a new kind of theatre in France that would not be an artistic spectacle, but a communion between spectators and actors. This volume contains all of Artaud’s key writings on theatre and cinema from 1921 to his death in 1948, together with a definitive commentary on the key texts of this 20th-century theatre ...
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Artaud’s cherished dream was to found a new kind of theatre in France that would not be an artistic spectacle, but a communion between spectators and actors. This volume contains all of Artaud’s key writings on theatre and cinema from 1921 to his death in 1948, together with a definitive commentary on the key texts of this 20th-century theatre ...
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Antonin Artaud 1: Modernites d'Antonin Artaud
The Modern Language Review, 2002John C. Stout, Olivier Penot-Lacassagne
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