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… 
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Haptic Spectatorship and the Political Life of Cruelty, or, Antonin Artaud “Signaling Through the Flames”
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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’s
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 critical
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's
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 physically
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 the


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 by
Une impression d'étrangeté . . . forte et persistante
  • Benjamin Crémieux
Paris). Quoted and translated in Eric Sellin, The Dramatic Concepts of Antonin Artaud (Chicago
  • Eric Sellin,
  • 1964
The Alfred Jarry Theatre-1926
  • CW II
17. Again, when a readily available translation exists, I do not reproduce the French
  • Collected Works II, hereafter CW II, trans. Victor Corti
  • 1971
Theatre: First Year—1926–27 Season,
  • CW II,
  • 1926
Virmaux also discusses Artaud's use of dissonances and distortions in this regard
    Ghost Sonata, in Five Plays, trans
    • Harry G. Carlson (New York: Signet Classic,
    • 1984
    Farrar, Straus & Giroux, 1976), xx
    • When a readily available translation exists, as in SW, I do not reproduce the French. Martin Esslin’s Antonin Artaud
    • 1976