Antonin Artaud: Theatre of Cruelty Essay

Antonin Artauds most profound piece of work was not a poem, not a play, not an acting role, but a theory Artauds Theatre of barbaricness. He began to form his Theatre of Cruelty theory after learning of the Balinese field of battle that gather upmed, to him, to share qualities with his ideas ab verboten theatre. Artaud held a great respect for Balinese theatre which revolves around dance and actions to convey importee (Encyclopedia Britannica). More traditional theatre revolves around words to convey signifi flowerpotce.Artaud believed that the specificity of communicatory interpretations got in the focal point of true meaning and that using physical gestures to pack thoughts was more(prenominal) effective (Encyclopedia Britannica). He tinted at free rein as more of a physical act than a recitation of a script. The complete form of theatre, in his view, needed to be incompatible to suit his fresh idea that the purpose of theatre was to express the roughness of gentlem an beings (Encyclopedia Britannica). Artaud was very liberal in his ideas for this new theatre. He was specific in what he wanted out of the new theatre.He had some plans for how it would function and umteen dreams of the effect it would bring to its audiences as well as the craft form as a whole. Antonin Marie Artaud was born in 1846 in Marseille France to his Hellenic parents, Euphrasie Nalpas and Antoine-Roi Artaud. He was unitary of the two surviving children out of nine, but he was very ill. Many of his problems can be attributed to his early childhood illnesses and the focus they were set. As a child, Artaud suffered from meningitis of the brain, neuraligia, and clinical depression. Since he was an unhealthy child, he was treated with opium which began his life-long addiction.As a young man Artaud was sm artistic creation, handsome, and capable. He wrote poetry, but his master(prenominal) focus was theatre. He also acted in plays and directed theatre. While he was nev er well-known, he gave his life up to writing and excelled at it. His aptitude for writing strange-yet-interesting pieces was a result of his demented mind. He had strange ideas that were both brilliant and misunders in additiond. The opium and mental illness that brought Artaud his skill in writing took a toll on his body and were his tie(p)tual downf tout ensemble.Artaud spent some days of his life going in and out of mental hospitals. He lived a fast, short life nd he died at the young fester of 52 in a psychatric clinic. People may never definitely know whether Artaud was really intellectually inspired by the drugs he was so addicted to, but one might hope that the drugs that took his life out-of-door from him at such an early age served some sort of utilizable purpose. Such an odd man would seem to be more well-known, when in fact Artaud and his theories are so obscure that little can be found on them in any reliable resources. To fully sympathize Artauds Theatre of Cr uelty completely, one must first visualise the meaning Artaud fix ups into the word furiousty.He employ the words in many different ways to express his own philosophies. Artaud, according to Lee Jamison, used the word cruelty to apply to many differerent philosophies and views of his. More specifically, she defines four different ways Artaud included the design of cruelty in his theories. The first of Artauds conceptual definitions of cruelty is the essense of human existence (Jamison). This definition of cruelty is that human life has no meaning, which is a cruel thought indeed. This definition utters Artauds jaded persepctive of life.He believed that life had no meaning and that theatre should show everyone else the cruel fact that he knew to be true. The second definition is cruelty as a practice, the practice of cruelty being breaking international from false reality (Jamison). He believed that everyone was living a lie and should and accept reality rather than ignoring the trueness. Artauds third cruelty concept is that he believed that the audience should be exposed to cruelty by sum of the theatre pass. He did not just want the audience to see cruelty up on the stage he wanted to put them in the middle of it all and to experience it themselves.He wanted all barriers to be erased and for the audience to become per centum of the action in drama (Jamison). In this way the audience could have a better instinct of the concept Artaud was so eager to put on display in the theatre. The fourth and last interpretation of cruelty is Artauds own own(prenominal) views. He considered everything imaginable to be reality (Jamison). If it could be thought up, it was real. This ties in with the willing suspension of disbelief which means what the audience is experiencing in the theatre is real in a way. The characters become hoi polloi that the audience cares about. understand the many meanings Artaud put on one word, cruelty, is vital to understanding his meaning in his theory of Theatre of Cruelty. Artauds theories could very well be the work of a misuderstood genious carrying a jem of precious intellect. He makes many logical points in his writing. Perhaps life is just a cruel, meaningless existence. star could never know without blind faith. There is no science to spring up that life has a deeper meaning other than to live and reproduce. If facing the lawfulness is cruel then(prenominal) Artaud believed that all people should stand up to cruelty and look it in the face.Artaud could be right in aspect that people should not live a lie. displace an audience in a dramiatic situation is a marvelous idea if not taken too far. His theories may have been the beginnings of improvisational theatre or may have even spawned the modern day house of horrors. Artaud could be right about saying that even things that exist only in the mind are real. humans is merely perception. Whether one can think of something or tangibly experience it , it is real in their perception. Artaud had many excellent ideas and theories that carry on with humanity through today.Artauds theories very well may be the jumbled-up imaginations and creations of a drug-addicted mad man. Perhaps his mental instability do him look at life through a distorted looking glass. What he saw was there, he was merely twisting it. life-time itself being cruel sounds exactly like an exaggeration a depressed person would make. Life can be wonderful in so many ways. man itself is no cruelty to mankind. Existence merely forces the living to eat and breath, zero more. Society may be a cruelty to mankind, but then again civilization is not innate. That people tend to avoid the truth is a terribly large generalization to make.It sounds like it was just made up. There is no evidence put behind it at all. Putting an audience through cruelty by making them part of a play is very cruel indeed. It may be so cruel that it serves no purpose at all, except to drive people forth from the theatre. Looking at it reasonably and scientifically, if something cannot be seen, smelled, heard, touched, or tasted, one can never know if it is actually there. It almost sounds like something that would come out of the mouth of someone mentally ill. The main problem with no one adopting Artauds theatre was that immense changes would have to be made to the art in itself.Buildings would have to be changed so that the audience could be part of the action in plays. Writers would have write in a way that demonstrated Artauds theories. His precise and thought-out ideas for the theatre were too specific to be conformed to easily. If the changes had not been so drastic, theatres very well may have change and become Theatres of Cruelty. Artaud was very particular in his theories. All of Artauds theories tied in very closely to one another. To conform to one of Artauds ideas without conforming to any other would be an immense challenge.