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University of Nova Gorica

School of Arts

Media Arts and Practices

MA Programme

DIP Transmedia Narratives

| |
2013

Lavoslava Beni

Summary of The Theater of Cruelty (The First Manifesto) By

Antonin Artaud

The primary objective of The First Manifesto was Artaud's end with subordination theatre text, and establish and
promote a unique theatrical language that is halfway between gesture and thought.
A unique theatrical language can be defined as its possibilities for dynamic and spatial expression, rather than
using dialogue as it does in theatres. "Here too intervenes (besides the auditory language of sounds) the visual
language of objects, movements, attitudes, and gestures, but on condition that their meanings, their
physiognomies, their combinations be carried to the point of becoming signs, making a kind of alphabet out of
these signs" (Artaud, 2000:1). So, it's not a direct challenge to the metaphysical idea of the stage, but this is a new
kind of temptation. Such theatre evokes a variety of art (music, dance, pantomime, or mimicry), but only if they
can contribute and lie great stress to the central expression without advantage for any particular art. This kind of
theatrical language creates witch-crafts, encourages voice, uses vibrations and frees meaning from the words.
Finally, Artaud interrupts intellectual subjection of the language.
In order to achieve this by spectators, Theatre of Cruelty evokes themes such as dreams, crimes, erotic obsessions,
savagery, ghosts, cannibalism ..., all with the desire to show us the eternal conflict and spasm.
After a brief theory of the theatre as it should be, I resume some of Artaud detailed analysis of the areas that set up
a show in Theatre of Cruelty.
Directing is considered the starting point of all theatrical works. The director is a unique creator, who is
responsible for the production and action, and must create a spectacle. The director himself is theatrical work.
The language of the stage must give to words approximately the importance they have in dreams.
Instruments would except just for playing music. Given that weighs to unusual shapes and sounds (scary,
unusual unexpected screams, noises, moaning, chopping rhythm) and vibrations, there is a need for making new
sounds, and the use of old instruments. He wanted to put sound along with visual perception.
Lighting devices that are used in the theatre before was not longer adequate. He added to the lighting equipment
new functions (thinness, density, and opaqueness) to produce sensations of heat, cold, anger, fear, etc.
It is suggested costumes resembling ceremonial character.
Artaud decided to remove all barriers from the stage and replaced them with a kind of a unique place. In this way,
he established a direct link between the spectators and the performance. The spectator is placed in the centre of
the action, surrounded and intersected it. Accordingly, he left off the typical theatre stage and suggested atypical
theatre space (e.g. hangar or barn). These spaces would be transformed by the principles from churches
architecture and holy sites in Tibet.
Dolls, hieroglyphics and ceremonial costumes, huge masks and objects of unusual proportions are typical of
theatre of cruelty, and represent mythic consciousness.
Artaud, actor considered the most important. From his performance depends efficiency, but it also needs to be
passive and neutral. He wants to give to the words the same importance that they have in dreams, but also
highlights sign language, facial expressions, gestures.

University of Nova Gorica

School of Arts

Media Arts and Practices

MA Programme

DIP Transmedia Narratives

| |
2013

Lavoslava Beni

Finally , the theatre is not possible without the cruelty in every play.
At the end of The First Manifesto, Artaud suggests the program list includes apocryphal Shakespeare's play,
poetic play from Lon-Paul Fargue, an extract from the Zohar, the story of Bluebeard, The Fall of Jerusalem, a tale
by the Marquis de Sade, romantic melodramas, Bhchner's Wozzek, and works from the Elizabethan theatre.

Sources
Artaud Antonin, The Theater of Cruelty (First Manifesto). Available at: http://www.colstons.bristol.sch.uk/mupper/departments/drama/documents/FirstManifesto.pdf [accessed 29 October 2013].