By Antonin Artaud
My pricey friend,
i feel i've got chanced on an appropriate identify for my book.
it is going to be:
THE THEATRE AND ITS DOUBLE
for if theatre doubles lifestyles, lifestyles doubles actual theatre, however it has not anything to do with Oscar Wilde's rules on paintings. This identify will conform to all of the doubles of the theatre which i assumed I'd discovered for therefore decades: metaphysics, plague, cruelty,
the pool of energies which represent Myths, which guy now not embodies, is embodied by means of the theatre. via this double I suggest the good magical agent of which the theatre, via its types, is simply the figuration on its approach to turning into the transfiguration.
it truly is at the level that the union of notion, gesture and motion is reconstructed. And the double of the Theatre is truth 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 persevered to impress, motivate, enrage, brighten up, problem, and goad any variety of theatrical debates in its demand a "Theater of Cruelty." A trio of theatrical manifestos, the ebook is an competitive assault on a number of the such a lot precious ideals of either theater and Western tradition. in line with Artaud, the theater's "double" is the same 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 response to desires, 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 guts of the theatrical adventure continues to be basic to the power of theater, and his insistence at the sensory event of drama in preference to the literary (and such leading edge rules because the use of unconventional "found spaces") remains to be the clarion name of the theatrical avant-garde. --John Longenbaugh