A Quote by Antonin Artaud

Artaud sought to remove aesthetic distance, bringing the audience into direct contact with the dangers of life. By turning theatre into a place where the spectator is exposed rather than protected, Artaud was committing an act of cruelty upon them.
[Nietzsche's] definition of cruelty informs Artaud's own, declaring that all art embodies and intensifies the underlying brutalities of life to recreate the thrill of experience ... Although Artaud did not formally cite Nietzsche, [their writing] contains a familiar persuasive authority, a similar exuberant phraseology, and motifs in extremis.
The poetics of the oppressed is essentially the poetics of liberation: the spectator no longer delegates power to the characters either to think or to act in his place. The spectator frees himself; he thinks and acts for himself! Theatre is action!
The principal act of courage is to endure and withstand dangers doggedly rather than to attack them.
In my life outdoors, I've observed that animals of almost any variety will stand in a windy place rather than in a protected, windless area infested with biting insects. They would rather be annoyed by the wind than bitten.
The Theatre of Cruelty has been created in order to restore to the theatre a passionate and convulsive conception of life, and it is in this sense of violent rigour and extreme condensation of scenic elements that the cruelty on which it is based must be understood. This cruelty, which will be bloody when necessary but not systematically so, can thus be identified with a kind of severe moral purity which is not afraid to pay life the price it must be paid.
Since childhood, it was my dream to go where all the poets and artists had been. Rimbaud, Artaud, Brancusi, Camus, Picasso, Bresson, Goddard, Jeanne Moreau, Juliette Greco, everybody - Paris for me was a Mecca.
Like many, I suspect, I found the difficulty of analytic philosophy unglamorous and therefore less appealing. This is regrettably superficial but superficiality is characteristic of youth. In my late teens I became enamored of Nietzsche, Bataille, and Artaud.
I try to do a lot of direct contact with the audience, because the audience is part of the concert, too, as much as anyone on stage, and it's a shame not to get to meet them if you get the chance.
In avant garde drama ... primitivism goes hand in hand with aesthetic experimentation designed to advance the technical progress of the art itself by exploring fundamental questions: What is a theatre? What is a play? What is an actor? What is a spectator? What is the relation between them all? What conditions serve this best?
The whole life-effort of man is to get his life into direct contact with the elemental life of the cosmos, mountain life, cloud life, thunder life, air life, earth life, sun life. To come into immediate felt contact, and so derive energy, power and a dark sort of joy. This effort into sheer naked contact, without an intermediary or mediator is the root meaning of religion.
Few things kill likeability as quickly as arrogance. Likable leaders don't act as though they're better than you because they don't think that they're better than you. Rather than being a source of prestige, they see their leadership position as bringing them additional accountability for serving those who follow them.
Why do you act? You act for an audience. In the theatre, you're in their presence. Film stars don't know what it is to have an audience.
London theatre is different: it is a commercial theatre that brings the whole of society into one place. And Shakespeare grasped, better than anyone else, what it means to engage the entire audience.
Antonin Artaud wrote on one of his drawings, "Never real and always true," and that is how depression feels. You know that it is not real, that you are someone else, and yet you know that it is absolutely true.
The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.
I had rather, if cruelty has been prevented by the four prints [The Four Stages of Cruelty], be maker of them than of the [Raphael] cartoons.
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