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At Rodez Artaud underwent therapy including electroshock treatments and art therapy. The doctor believed that Artaud's habits of crafting magic spells, creating astrology charts, and drawing disturbing images were symptoms of mental illness. Artaud, at his peak began lashing out at others.

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https://www.youtube.com/watch?v=haetbobw7y4

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Artaud’s ideas are translatable but at the same time he does use a lot of homonyms. Artaud has these returning themes of knives, holes, banging nails. The text became like a continuation of the body. He would poke himself with a pen and then stab the page. He would scrape away at the page so that the page would look like a kind of eczematic skin

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Artaud’s ideas are translatable but at the same time he does use a lot of homonyms. Artaud has these returning themes of knives, holes, banging nails. The text became like a continuation of the body. He would poke himself with a pen and then stab the page. He would scrape away at the page so that the page would look like a kind of eczematic skin

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https://www.youtube.com/watch?v=DK_vZuLYHcw

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The audience is incorporated into the spectacle but almost against their will. Lighting and sound tie in with the all engulfing, sensory experience. Artaud writes about using all the latest technology: it should be spectacular.

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The audience is incorporated into the spectacle but almost against their will. Lighting and sound tie in with the all engulfing, sensory experience. Artaud writes about using all the latest technology: it should be spectacular.

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To create ‘Artaudian’ work think about how you can use your body, your own experience of your body, to express something. Artaud makes a connection between the plague and the theatre. Both should effect the brain and lungs. Theatre should be this contagious, uncontrollable force that invades the body of the actor rendering all their intellectual capabilities useless: turning them into this pure, affective energy. Artaudian work is about the violence that you can do to a text using their body in some way.  Artaud needed all his work to fail in some way to be able to prove that representation itself was doomed to failure.

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To create ‘Artaudian’ work think about how you can use your body, your own experience of your body, to express something. Artaud makes a connection between the plague and the theatre. Both should effect the brain and lungs. Theatre should be this contagious, uncontrollable force that invades the body of the actor rendering all their intellectual capabilities useless: turning them into this pure, affective energy. Artaudian work is about the violence that you can do to a text using their body in some way.  Artaud needed all his work to fail in some way to be able to prove that representation itself was doomed to failure.

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Artaud did experience the kind of theatre that he wrote about when he saw the Balinese dancers and participated in the peyote ritual with the Tarahumaras. All texts that Artaud approached, he approached them through his own perspective. The peyote ritual is based on a dance.

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Artaud did experience the kind of theatre that he wrote about when he saw the Balinese dancers and participated in the peyote ritual with the Tarahumaras. All texts that Artaud approached, he approached them through his own perspective. The peyote ritual is based on a dance.

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Cruelty is really about disrupting. Cruelty meant a physical engagement. A cruelty to language: to concepts, to ideas, to representation. Artaud talks about cruelty as something that acts not in the sense that it performs a role but that it actually physically acts.

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Cruelty is really about disrupting. Cruelty meant a physical engagement. A cruelty to language: to concepts, to ideas, to representation. Artaud talks about cruelty as something that acts not in the sense that it performs a role but that it actually physically acts.

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Artaud is the person who has most questioned what representation is in the twentieth century.“The theatre is the only place in the world where a gesture, once made, can never be made in the same way twice.” Artaud

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Artaud is the person who has most questioned what representation is in the twentieth century.“The theatre is the only place in the world where a gesture, once made, can never be made in the same way twice.” Artaud

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Artaud is the person who has most questioned what representation is in the twentieth century.

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What are the key techniques used in the Theatre of cruelty?

A largely movement-based performance style, Theatre of Cruelty aimed to shock the senses of its audience, sometimes using violent and confronting images that appealed to the emotions. Text was given a reduced emphasis in Artaud's theatre, as dance and gesture became just as powerful as the spoken word.

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Original plays by Michael Almaz and his adaptations of other works, including: Ionesco, Strindberg, Chekhov, Camus, Moliere, Knut Hamsun, Diderot, Kierkegaard, Kafka, Dostoyevski, the Marquis de Sade.

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The French mastermind known as Antonin Artaud (1896-1948) was not always a lucid one. The man who coined the term ‘theatre of cruelty’ spent a significant portion of his later life in asylums, and when on the outside, addicted to opium.

A photo from one of Artauds play 'Of Madness and Joy'

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In his writings on the Theatre of Cruelty, Artaud notes that both "theatre" and "cruelty" that are separate from their colloquial meanings.
For Artaud, theatre does not merely refer to a staged performance before a passive audience.The theatre is a practice, which "wakes us up. Nerves and heart," and through which we experience, "immediate violent action," that "inspires us with the fiery magnetism of its images and acts upon us like a spiritual therapeutics whose touch can never be forgotten."

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https://www.youtube.com/watch?v=hpfVW6otfyQ
https://www.youtube.com/watch?v=JuQAS57I-qQ

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He is best known for conceptualizing a 'theatre of cruelty'

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He is best known for conceptualizing a 'theatre of cruelty'

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In March 1921, Artaud moved to Paris to pursue a career as a writer (against his father's wishes). While training and performing with directors including Charles Dullin and Georges Pitoëff, he continued to write both poetry and essays. At the age of 27, he mailed some of his poems to the journal La Nouvelle Revue Française;they were rejected, but the editor, Jacques Rivière, wrote back seeking to understand him, and a relationship via letters developed.

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In March 1921, Artaud moved to Paris to pursue a career as a writer (against his father's wishes). While training and performing with directors including Charles Dullin and Georges Pitoëff, he continued to write both poetry and essays. At the age of 27, he mailed some of his poems to the journal La Nouvelle Revue Française;they were rejected, but the editor, Jacques Rivière, wrote back seeking to understand him, and a relationship via letters developed.