The Theatre before Its Double: Artaud Directs in the Alfred Jarry Theatre

  title={The Theatre before Its Double: Artaud Directs in the Alfred Jarry Theatre},
  author={Kimberly Jannarone},
  journal={Theatre Survey},
  pages={247 - 273}
It is ironic that the works of Antonin Artaud, who called for the rejuvenation of theatre as such, come to us today not on their own, but through an unusually dense filter: a peculiarly persistent critical/theoretical apparatus doubles his own writings and practice. Artaud's work has occupied a cultish space in both French and English criticism for several decades. Each major trend in Artaud scholarship has reinforced the image of Artaud as a brilliant/mad theoretician and inspirational writer… Expand
7 Citations
Audience, Mass, Crowd: Theatres of Cruelty in Interwar Europe
This essay interprets the Theatre of Cruelty's ideal spectator in light of early twentieth-century theatre audiences and the field of crowd theory. Artaud was writing at a moment when the role andExpand
Haptic Spectatorship and the Political Life of Cruelty, or, Antonin Artaud “Signaling Through the Flames”
It seems peculiar that Artaud, the twentieth century’s quintessential thinker of cruelty, would open his one book on theatre theory with a fundamentally “moral” concern. Culture, as it stands, andExpand
The Puppet and its Master: Deconstruction as Ventriloquy
In this article, I start by focussing on Jacques Derrida’s last lecture on Antonin Artaud. I consider this lecture as a ventriloquy, that is to say a staged version of the entirety of Derrida’sExpand
Interpreting Antonin Artaud’s Theatre of Cruelty
Di Ponio interprets Antonin Artaud’s Theatre of Cruelty and its proposed changes to traditional theatre. She traces Artaud ’s theatrical dissidence from his early experiments in the theatre with theExpand
Cruel Vibrations: Sounding Out Antonin Artaud's Production of Les Cenci1
  • A. Curtin
  • Art
  • Theatre Research International
  • 2010
This article examines the sonic elements of Antonin Artaud's 1935 production of Les Cenci, Artaud's infamous attempt to realize his proposed ‘theatre of cruelty’. The aim is to qualify the criticalExpand
This history of the American Society for Theatre Research is written on the occasion of its fiftieth anniversary and focuses chiefly on the years from 1981 to 2006, but with an overview of ASTR'sExpand
Hearing Affectively: The Noise of Avant-Garde Performance
What does it mean to hear affectively? If one hears effectively, one hears well, or at least well enough, relatively speaking. If one hears affectively, one hears in such a way as to be physicallyExpand


Empty Space
DE. ROBERT G. AITKBN brings together some interesting information on this topic in Leaflet No. 148 issued by the Astronomical Society of the Pacific. The diameter of the universe made accessible byExpand
Alain and Odette Virmaux, Artaud: Un Bilan critique (Paris: Belfond, 1979), and Henri Béhar, Roger Vitrac: Un Réprouvé du surréalisme (Paris: A
  • G. Nizet, 1966): 281–301. Artaud et les avant-gardes théâtrales, ed. Olivier Penot-Lacassagne
  • 2005
A Critical Reader, ed
  • Edward Scheer
  • 2004
Dieu merci, Artaud n’est plus à la mode!
  • (January–February
  • 1997
Michel Camus also writes that we must consider all of Artaud, not merely the later Artaud
  • Opales/Comptoir d'édition
  • 1996
The Suffering Shaman of the Modern Theater,
  • Artaud and the Modern Theater (Madison,
  • 1994
Routledge, 2004) reflects the widespread critical neglect of Artaud's theatrical practice
  • Notable exceptions include Christopher Innes, who began this work in his chapter on Artaud in Avant-Garde Theatre
  • 1993
For vivid examples of practical success by wildly idealistic visionaries, see Frederick Brown
  • Writing and Difference
  • 1989
Ghost Sonata, in Five Plays, trans
  • Harry G. Carlson (New York: Signet Classic,
  • 1984