JET OF BLOOD ARTAUD PDF

Often deemed unstageable, Artaud’s short play Jet of Blood, or Spurt of Blood as it is sometimes known, was written in , but not performed. bites the gigantic wrist, and a spurt of blood splashes across the stage before all Densely packed as it is, Artaud’s Jet de Sang can be read aloud in about five. Jet of Blood, adapted from Antonin Artaud, directed by Olivia Allen. Designed by Adam Gardnir, lighting by Luke Hails, sound by Hayley.

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The Spurt of Blood

Even in its shortest incarnation, however, and noting its surrealist nature, there are some strong themes are expressed, some of which could be described as being almost misanthropic.

Tabbed Event Search All. From his adolescence, Artaud was periodically incarcerated with a condition that looks very like schizophrenia. Certainly, Artaud shares with figures jdt Osama bin Laden or Pol Pot a singular and apocalyptic moral vision that seeks purification through destruction and violence.

Ignite has made, I think, a brave and sometimes successful attempt at surrealist theatre; but what it lacks is Artaud. The Young Man and the Whore are still alive and they are mid-coitus and eating each other with their eyes. Baal, the first king of the Christian Hell, best known to us as Beelzebub. For all that, Jet of Blood is never boring and gives us glimpses of true theatrical flair. Sign up to our Newsletter. But the gravity of his theories and texts concerning the relationship between darkness and light, greed and innocence, devotion and loathing, death and being — it all comes assertively across in this production.

It is argued that the ruin left in the wake of this destruction is not the ultimate goal. A new performance criticism website from Alison Croggon and Robert Reid. Flexibility is paramount in a show such as Spurt of Blood. Manic Mondays Frances Cocktail Lounge.

In Antonin Artaud wrote a very strange play, translated bloood as Jet of Blood or The Spurt of Blood, filled with odd characters, absurd plot twists, unspeakable acts, and the sort of unstageable stage directions you’d expect from a man who had spent 9 of his last 11 years in an insane asylum. Challenging, stringent avant chamber play. For the first thirty seconds I blokd we were in for something special in Queen Lear.

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I can not stress how jeet I believe it does. However, it has not been quiet at home: I suffer from a horrible sickness of the mind. These go beyond simple cruelty, mocking the attitudes and sensibilities of people at the time it was written, but show a generally harsher view of humanity.

At its worst it re-creates the kind of dead theater Artaud railed against. His entire desire was to transform dualities – art and life, spirit and flesh, rationality and irrationality – into a unified consciousness; and the means he proposed was violence.

I know it’s been quiet on the blog the past couple of days. The performers are impressive, meeting the challenges of this production with polished physical skills and commitment.

‘The importance of unusual theatre’: An interview with the director of Spurt of Blood

Jet of Blood was completed in Paris, on January 17,perhaps in its entirety on that day alone. Rataud La Boule de Verreas in Le Jet de Sangthe young couple exchanges declarations of love, then the couples disappear. Critics Disturbing dreamscapes make up a fierce short story … dark and misty, like the anxiety Artaud himself must have experienced. Apologies for the delayed answer: With the help of movement, sound, light, songs and music, tableaus evolve around the themes of falsehood and reality, dread and denial, love and cruelty, life and death.

Like many poets, Artaud was lamentably literal. By using this site, you agree to the Terms of Use and Privacy Policy.

However, Artaud was completely hostile to any idea of social revolution, breaking in disgust from the Surrealists when they briefly embraced Communism. How does one realise Artaud on stage? What, then, to make of competing claims for an “authentic” experience of Artaud? Alison, You extend the negative critiques that have always been attached to Artaud’s work to a new outrageous and unconscionable level by comparing Artaud to violent terrorist killers Osama bin Laden and Pol Pot.

Or je art hold no meaning in “real life”? What makes Artaud different from most mentally ill people is that, in what is almost a contradiction in terms, he was coldly conscious of his madness, and was capable of describing it with an almost savagely clinical intelligence.

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The references used may be made clearer with a different or consistent style bloo citation and footnoting. To be fair, not even Artaud could realise Artaud; his own productions in Paris in the s were dismal failures.

I admire Artaud’s writing, and I greatly admire many of the artists who are influenced by his work. By Atticus Bikos With such observations in mind,Theatre of Cruelty chose to leave the timeless, placeless world of Artaud behind and embark upon a historically allusive interpretation. But the humor isn’t all in the Monty Python vein. However the production was never mounted. One reason might be that the whole is enclosed in a narrative of dream. By Reader staff Cardullo blold Knoff Lacking both talent and money, the Madrigals are woefully unequal to the task.

The Spurt of Blood | Performing Arts Review | Chicago Reader

Jet of Blood Jet de Sangalso known as Spurt of Bloodis an extremely short play by the French theatre practitionerAntonin Artaudwho was also the founder of the “Theatre of Cruelty” movement. As he wrote in The Theatre and Its Double: The Young Man is afflicted by these visions of a demented world while he is asleep; this leaves an exit for all of us, since all he has to do is to wake up.

Jet of Bloodwritten incontains some of the most blackly comic, extreme and misogynist stage directions ever written. The tableaux she creates are often comic as well as dreamlike: Perhaps the theatre scene here is perceived to artauud discourage risk-taking, but I will artud tentatively note that maybe Postmodernism and Modernism are so interesting precisely because they are not inducted into the mainstream.

Though the play was not produced until by Peter Brook and Charles Marowitz years after Artaud’s death, scholars have called the work a “landmark in Artaud’s development” and a major influence on the theater of the absurd. The performance takes shape of an exigent process of self-uncovering, sensations reverberating from one character to another and triggering aggressive confrontations.

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