The Theatre and its Double

The Theatre and its Double

Antonin Artaud


My expensive friend,
i feel i've got came across an appropriate identify for my book.
it's going to be:
for if theatre doubles lifestyles, existence doubles precise theatre, however it has not anything to do with Oscar Wilde's rules on artwork. This identify will conform to all of the doubles of the theatre which i assumed I'd chanced on for therefore a long time: metaphysics, plague, cruelty,
the pool of energies which represent Myths, which guy not embodies, is embodied via the theatre. by way of this double I suggest the good magical agent of which the theatre, via its varieties, is simply the figuration on its strategy to turning into the transfiguration.
it truly is at the level that the union of proposal, gesture and motion is reconstructed. And the double of the Theatre is fact untouched through the boys of today.
Artaud, Letter to Jean Paulhan.
25th January, 1936.
(Schumacher 1989, 87-88)


Since its first e-book in 1938, The Theater and Its Double through the French artist and thinker Antonin Artaud has endured to impress, encourage, enrage, brighten up, problem, and goad any variety of theatrical debates in its demand a "Theater of Cruelty." A trio of theatrical manifestos, the booklet is an competitive assault on a few of the such a lot valuable ideals of either theater and Western tradition. in accordance with Artaud, the theater's "double" is identical to its Jungian "shadow," the unacknowledged, subconscious point that completes it yet is in lots of methods its contrary. As "culture" inexorably attracts the creative impulse into secure channels, the repressed irrational urges of theater, in accordance with goals, faith, and emotion, are more and more essential to "purge" the disease of society. Artaud identifies language itself as one of many significant cultural culprits, and his assaults on it sometimes makes his textual content tough going. yet his problem to revive relevance to the center of the theatrical adventure is still primary to the power of theater, and his insistence at the sensory adventure of drama in preference to the literary (and such cutting edge principles because the use of unconventional "found spaces") is still the clarion name of the theatrical avant-garde. --John Longenbaugh

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