By Antonin Artaud
My expensive friend,
i feel i've got came across an appropriate identify for my book.
it's going to be:
THE THEATRE AND ITS DOUBLE
for if theatre doubles existence, existence doubles actual theatre, however it has not anything to do with Oscar Wilde's rules on paintings. This identify will agree to the entire doubles of the theatre which i assumed I'd chanced on for thus decades: metaphysics, plague, cruelty,
the pool of energies which represent Myths, which guy not embodies, is embodied through the theatre. by way of this double I suggest the nice magical agent of which the theatre, via its types, is barely the figuration on its technique to turning into the transfiguration.
it's at the level that the union of inspiration, gesture and motion is reconstructed. And the double of the Theatre is fact untouched through the lads of today.
Artaud, Letter to Jean Paulhan.
25th January, 1936.
(Schumacher 1989, 87-88)
Since its first booklet in 1938, The Theater and Its Double through the French artist and thinker Antonin Artaud has persisted to impress, motivate, enrage, liven up, problem, and goad any variety of theatrical debates in its demand a "Theater of Cruelty." A trio of theatrical manifestos, the publication is an competitive assault on a number of the so much precious ideals of either theater and Western tradition. in accordance with Artaud, the theater's "double" is identical to its Jungian "shadow," the unacknowledged, subconscious aspect that completes it yet is in lots of methods its contrary. As "culture" inexorably attracts the inventive impulse into secure channels, the repressed irrational urges of theater, in response to 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 event is still basic to the energy of theater, and his insistence at the sensory adventure of drama in preference to the literary (and such leading edge principles because the use of unconventional "found spaces") is still the clarion name of the theatrical avant-garde. --John Longenbaugh