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
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Additional info for The Theatre and its Double
IV. On the Balinese Theater The spectacle of the Balinese theater, which draws upon dance, song, pantomime-and a little of the theater as we understand it in the Occident-restores the. theater, by means of ceremonies of indubitable age and well-tried efficacity, to its original destiny which it presents as a combination of all these elements fused together in a perspective of hallucination and fear. It is very remarkable that the first of the little plays which compose this spectacle, in which we are shown a father's remonstrances to his tradition-flouting daughter, begins with an entrance of phantoms; the male and female characters who will develop a dramatic but familiar subject appear to us first in their spectral aspect and are seen in that hallucinatory perspective appropriate to every theatrical character, before the situations in this kind of symbolic sketch are allowed to develop.
Stage, the suspended rhythm is completed, the measure made clear. Everything is thus regulated and impersonal; not. a movement of the muscles, not the rolling of an eye but seem to belong to a kind of reflective mathematics which controls everything and by means of which everything happens. And the strange thing is that in this systematic depersonalization, in these purely muscular facial expressions, applied to the features like masks, everything produces a significance, everything affords the maximum effect.
Anew physical. language, based upon signs and no longer upon words, is liberated. These actors with their geometric robes seem to be animated hieroglyphs. It is not just the shape of their robes which, displacing the axis of the human figure, create beside the dress of these warriors in a state 'of trance 'and perpetual war a kind of second, symbolic dress and thus inspire an intellectual idea, or which merely. connect, by all the intersections of their lines, with all the intersections of perspective in space.
The Theatre and its Double by Antonin Artaud