1 / 18

Artaud’s

Artaud’s. Theatre and it’s Double. Artaud’s Actor. Highly trained Breath control Semi-ritualistic chants of Eastern religions Tempo-Rhythm Emotional release. Artaud’s Theatre. Alternative theatre spaces Audience at the centre of the action Audience trapped and powerless

davidrobbins
Download Presentation

Artaud’s

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Artaud’s Theatre and it’s Double

  2. Artaud’s Actor • Highly trained • Breath control • Semi-ritualistic chants of Eastern religions • Tempo-Rhythm • Emotional release

  3. Artaud’s Theatre • Alternative theatre spaces • Audience at the centre of the action • Audience trapped and powerless • A sensory experience • No boundaries between actor and audience • Use of galleries • Full musical scores used • Recorded sound used at full volume • Sophisticated lighting effects • Example – The Cenci (1935) “The auditorium will be enclosed within four walls, stripped of any ornament, with the audience seated below, in the middle, on swivelling chairs, allowing them to follow the show taking place around them.” [T& ID, 1985. p.75]

  4. Puppetry and Mask • Symbolism rather than functionalism • Emphasise sense of ritual • Cruel and archetypal • Example – Ubu Roi (1896)

  5. Language • Based on signs, not dialogue • Anti – character • Extended means of communication • Speech replaced by sound patterns • Surreal • Dada poetry

  6. KARAWANE jolifanto bambla o falli bambla grossiga m’pfa habla horem egiga goramen higo bloiko russula huju hollaka hollaka anlogo bung blago bung blago bung bosso fataka u uu u schampa wulla wussa olobo hej tatta gorem eschige zunbada wulubu ssubudu uluw ssubudu tumba ba – umf kusagauma ba – umf [Waldberg, P., Surrealism, 1965] Phonetic Poem (1917) Hugo Ball

  7. There is no more firmament “Darkness. Explosions in the Dark. Harmonies cut short. Raw sounds. Sound blurring. The music gives the impression of a far-off cataclysm; it envelops the theatre, falling as if from a vertiginous height. Chords are stuck in the sky; they dissipate, going from on extreme to the other. Sounds fall as if from a great height, stop short and spread out in arcs, forming vaults and parasols. Tiered sounds. Beginnings of glimmers that change continually, passing from red to harsh pink, from silver to green, turn white; suddenly boundless, opaque, yellow light, the colour of dirty fog or the Simoon… Street cried. Various voices. An infernal racket. When one sound stands out, the others fade into the background accordingly… A hysterical woman wails, makes as if to undress. A child cries with huge, terrible sobs… Sudden stop. Everything starts again. Everyone takes his place again as if nothing had happened.” [Artaud, A., Collected works]

  8. Ritual • Influenced by Balinese Dancers • Influenced by Neitzsche and the God Dionysus i.e. passion and irrationality • Appeals primarily to the senses “A ritual generally takes the form of repeating a pattern of words and gestures which tend to excite us above a normal state of mind. Once this state of mind is induced we are receptive and suggestible and ready for the climax of the rite. At the climax the essential nature of something is changed.” [Ann Jellicoe, quoted in Innes. P. 219]

  9. Surrealism • Themes taken from Surrealism • Redefinition of reality • Insights into the subconscious • Defines madness and non-madness • Artaud expelled • Selective

  10. “I think I have found a suitable title for my book. It will be: THE THEATRE AND IT’S DOUBLE For if theatre is the double of life, life is the double of true theatre…This title will correspond to all the doubles of theatre which I thought I had found over so many years: metaphysics, the plague, cruelty.” [Quoted in Sellin, 1975. p93]

  11. The Theatre and it’s Double • Production and Metaphysics • Theatre and the Plague • The Theatre of Cruelty, First and Second Manifestos

  12. Production and Metaphysics • Used to express anything that has no rational explanation • Use of dance as expression • Non-verbal signs for communication • More narrative than traditional mime • Gesture with depth of meaning • Dramatic spectacle • Simultaneous action • Surrealism • Comedy

  13. Influences of Metaphysics • Balinese Dancers • Lot and His Daughters • The Marx Brothers

  14. Theatre and the Plague • Physical effects • Allegory and analogy • Stripped theatre of it’s constraints • Intention to challenge and disturb audience

  15. Definition of ‘real’ play “A real stage play upsets our tranquillity, releases our repressed subconscious, drives us to a kind of potential rebellion.” [T&ID, 1985. p.19]

  16. The Theatre of Cruelty • Connection between director, actor and spectator • Against conventional theatre spaces • Opposed to the representation of real life • Creation of a new language • Use of emotion • Myth, ritual and well-known tales • Shock

  17. Collected Works • Correspondence and letters • Interviews • Manifestos • Reviews • The Alfred Jarry Theatre Film Un Chien Andalou

  18. Plays by Artaud • The Cenci • The Death of Satan Plays influenced by Artaud Ubu Roi by A. Jarry Murderer, Hope of Womankind by O. Kokoschka Royal Hunt of the Sun by P. Shaffer Equus by P. Shaffer Marat / Sade by P. Weiss East by S. Berkoff Decadence by S. Berkoff

More Related