By Antonin Artaud
My expensive friend,
i feel i've got came upon an appropriate name for my book.
it's going to be:
THE THEATRE AND ITS DOUBLE
for if theatre doubles lifestyles, lifestyles doubles precise theatre, however it has not anything to do with Oscar Wilde's principles on paintings. This name will conform to the entire 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 not embodies, is embodied by way of the theatre. via this double I suggest the good magical agent of which the theatre, via its kinds, is simply the figuration on its method to changing into the transfiguration.
it truly is at the degree that the union of suggestion, gesture and motion is reconstructed. And the double of the Theatre is fact untouched by means of the lads of today.
Artaud, Letter to Jean Paulhan.
25th January, 1936.
(Schumacher 1989, 87-88)
Since its first e-book in 1938, The Theater and Its Double by way of the French artist and thinker Antonin Artaud has endured 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 few of the such a lot precious ideals of either theater and Western tradition. in accordance 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 line with goals, 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 rather than the literary (and such cutting edge rules because the use of unconventional "found spaces") is still the clarion name of the theatrical avant-garde. --John Longenbaugh