An examination of Artaud's interpretation of Alfred Jarry's play, focusing on the "theater of cruelty" and ideas of Jerzy Grotowski.
Written in 2000; 900 words; 3 sources; $ 31.95
Paper Summary:
"Antonin Artaud's theater of cruelty techniques are springboards for the director's imagination. His theories, based in part on Cambodian and Balinese dance, extol a form of "total theater," where visual images, gesture, light, sound, and noise take precedence over the written or spoken word.
From the Paper:
"Antonin Artaud's theater of cruelty techniques are springboards for the director's imagination. His theories, based in part on Cambodian and Balinese dance, extol a form of "total theater," where visual images, gesture, light, sound, and noise take precedence over the written or spoken word. This potent combination is used to disturb the subconscious of the audience and kindle their imaginations. These images are often shocking, but as Artaud explains, "We are not free, and the sky can still fall on our heads; and the theater exists to remind us of this fact" (Artaud 79).
Alfred Jarry's King Ubu displays "the spirit of profound anarchy which is the root of all poetry" (Artaud 42), and this can be seen in Act IV of the play as Pa Ubu states,
We'll stay on top of this hill and we'll not be so..."
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