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Journal articles on the topic 'The theater of cruelty'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Walker, Robert, Cynthia Simmons, Stephen Aldrich, Stephen Perz, Eugenio Arima, and Marcellus Caldas. "The Amazonian Theater of Cruelty." Annals of the Association of American Geographers 101, no. 5 (September 2011): 1156–70. http://dx.doi.org/10.1080/00045608.2011.579539.

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2

Stern, Jeffrey. "Psychoanalysis, Terror and the Theater of Cruelty." International Journal of Psychoanalytic Self Psychology 4, no. 2 (March 31, 2009): 181–211. http://dx.doi.org/10.1080/15551020902730281.

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3

Ashley, Kathleen. "The Medieval Theater of Cruelty: Rhetoric, Memory, Violence." Arthuriana 10, no. 4 (2000): 72–75. http://dx.doi.org/10.1353/art.2000.0050.

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4

Kobialka, Michal. "The Medieval Theater of Cruelty: Rhetoric, Memory, Violence (review)." Theatre Journal 51, no. 3 (1999): 343–45. http://dx.doi.org/10.1353/tj.1999.0063.

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5

Roy, Parama. "On Verminous Life." Representations 148, no. 1 (2019): 86–113. http://dx.doi.org/10.1525/rep.2019.148.1.86.

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By the nineteenth century, models of just and civilized sociability in the Anglophone world came to encompass forms of obligation to the nonhuman, and the colony assumed the status of a crucial theater for thinking about forms of cruelty, sympathy, and protection. On the terrain of the Indian colony, this new moral economy of care and inclusion encountered an existing Indic economy of vegetarianism and nonkilling of animals, which it sought to cast, not as kindness to animals, but as a form of cruelty to them—of vegetarian cruelty if you will. Using John Lockwood Kipling’s Beast and Man in India (1891) as its text, the essay examines the encounter of these two contrasting economies of animal protection and animal cruelty, especially Kipling’s understanding of carnivory as the basis not only for human sociability but also of kindness to the nonhuman.

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6

Kanter, Jodi. "Agitated States: Performance in the American Theater of Cruelty (review)." Theatre Journal 56, no. 1 (2004): 130–31. http://dx.doi.org/10.1353/tj.2004.0022.

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7

Solterer, Helen. "The Medieval Theater of Cruelty: Rhetoric, Memory, Violence by Jody Enders." Studies in the Age of Chaucer 22, no. 1 (2000): 474–78. http://dx.doi.org/10.1353/sac.2000.0027.

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8

Groeneveld, Leanne. "The Medieval Theater of Cruelty: Rhetoric, Memory, Violence (review)." Comparative Drama 34, no. 1 (2000): 118–21. http://dx.doi.org/10.1353/cdr.2000.0028.

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9

Frantzen, Allen J. "DRAMA AND DIALOGUE IN OLD ENGLISH POETRY: THE SCENE OF CYNEWULF'SJULIANA." Theatre Survey 48, no. 1 (April 25, 2007): 99–119. http://dx.doi.org/10.1017/s0040557407000385.

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InThe Semiotics of Performance, Marco de Marinis notes that the field of performance studies has greatly expanded the traditional categories of drama and theatre. “It is obvious,” he writes, “that we are dealing with a field that is far broader and more varied than the category consisting exclusively oftraditional stagings of dramatic texts, to which some scholars still restrict the class of theatrical performances.” A few scholars of early theatre history have embraced expanded categories of performance. Jody Enders's “medieval theater of cruelty,” for example, rests on a concept of “atheoryof virtual performance” that translates “into actual medieval dramatic practice.” Carol Symes's study of the “dramatic activity” suggested by medieval French manuscripts identifies “a vital performative element within the surrounding culture.” Both writers have shown how new ideas of performance enlarge the category beyond the “traditional stagings” described by de Marinis.

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10

Brown, Erella. "Cruelty and Affirmation in the Postmodem Theater: Antonin Artaud and Hanoch Levin." Modern Drama 35, no. 4 (December 1992): 585–606. http://dx.doi.org/10.3138/md.35.3.585.

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11

Spreen, C. "Resisting the Plague: The French Reactionary Right and Artaud's Theater of Cruelty." Modern Language Quarterly 64, no. 1 (March 1, 2003): 71–96. http://dx.doi.org/10.1215/00267929-64-1-71.

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12

Cowell, Andrew. "The Medieval Theater of Cruelty: Rhetoric, Memory and Violence (review)." Comparatist 26, no. 1 (2002): 175–76. http://dx.doi.org/10.1353/com.2002.0016.

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13

Urban, Ken. "Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the 'Nineties." New Theatre Quarterly 20, no. 4 (October 25, 2004): 354–72. http://dx.doi.org/10.1017/s0266464x04000247.

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The explosion of ‘in-yer-face’ theatre that dominated the British stage in the 'nineties has had both vocal champions and detractors. Here, Ken Urban examines the emergence of this kind of theatre within the cultural context of ‘cool Britannia’ and suggests that the plays of writers such as Mark Ravenhill and Sarah Kane explore the possibilities of cruelty and nihilism as a means of countering cynicism and challenging mainstream morality's interpretation of the world. Ken Urban is a playwright and director, whose plays The Female Terrorist Project and I [hearts] KANT are currently being produced by the Committee Theatre Company in New York City. His play about the first US Secretary of Defense, The Absence of Weather, will premiere in Los Angeles at Moving Arts Theatre Company, which has named it the winner of its national new play award. At the request of the Sarah Kane Estate, Urban directed the New York premiere of her play Cleansed. He teaches Modern Drama and Creative Writing in the English Department at Rutgers University, New Brunswick. An early version of this article was first presented at the ‘In-Yer-Face? British Drama in the 1990s’ conference at the University of the West of England, Bristol, in September 2002.

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14

García de Mesa, Roberto. "Grand Guignol, Artaud y surrealismo. Breve estudio sobre la violencia en Crimen y La Casa de Tócame Roque, de Agustín Espinosa." Revista de Filología de la Universidad de La Laguna, no. 42 (2021): 195–206. http://dx.doi.org/10.25145/j.refiull.2021.42.12.

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This article studies the proximity of ideas between the Grand Guignol, Antonin Artaud’s theater of cruelty and surrealism, with the works Crime and La casa de Tócame Roque, both by Agustin Espinosa. These ideas revolve around a common theme: the study of extreme violence. Finally, the most violent passages of Espinosa’s works are highlighted and the position that emerges from these texts regarding the aforementioned concept is studied.

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15

Prieto, Eric. "Koffi Kwahulé’s Coltranean Theatre of Cruelty." Modernist Cultures 8, no. 1 (May 2013): 138–56. http://dx.doi.org/10.3366/mod.2013.0055.

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16

Corral Fulla, Anna. "Antonin Artaud sur la scène espagnole (1969-2016)." Anales de Filología Francesa 27, no. 1 (November 15, 2019): 419–48. http://dx.doi.org/10.6018/analesff.382861.

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La influencia de las teorías de Artaud en el mundo del teatro es, a día de hoy, una realidad indiscutible. En efecto, Artaud representa uno de los pilares sobre el que reposan los grupos colectivos de teatro independiente surgidos en los años 60-70 (Living Theater, etc.); las teorías más innovadoras de directores teatrales de renombre como Jerzy Grotowski o Peter Brook; el teatro posdramático (la performance, entre otros) y el nuevo rango otorgado a la palabra en la representación teatral. En la actualidad, Artaud es una referencia ineludible en el ámbito teatral: Artaud y El teatro y la peste; Artaud y El teatro de la crueldad; escritos teóricos recogidos en El teatro y su doble. Este artículo se propone abordar la recepción de Artaud en la escena teatral española. Nos interesa identificar qué representaciones de Artaud se han privilegiado – el hombre de teatro, el loco, el poeta, el enfermo… – y examinar la incidencia de dichos espectáculos en la divulgación de la obra de Antonin Artaud en España. The influence of Artaud's theories in the world of theatre is, today, an indisputable reality. Indeed, Artaud represents the pillar on which the collective groups of independent theatre arisen in the years 60-70 (Living Theater, etc.) rest; the most innovative theories of renowned theater directors such as Jerzy Grotowski or Peter Brook; the postdramatic theatre (the performance, among others) and the new rank granted to the word in the theatrical representation. At present, Artaud is an inescapable reference in the theatrical field: Artaud and The theatre and the plague; Artaud and Theatre of cruelty; theoretical writings collected in Theatre and its double. This article aims to address the reception of Artaud on the Spanish theatre stage. We are interested in revealing what representations of Artaud have been privileged - the theatre man, the madman, the poet, the sick ... - and examine the incidence of these performances in the dissemination of the work of Antonin Artaud in Spain. La influencia de las teorías de Artaud en el mundo del teatro es, a día de hoy, una realidad indiscutible. En efecto, Artaud representa uno de los pilares sobre el que reposan los grupos colectivos de teatro independiente surgidos en los años 60-70 (Living Theater, etc.); las teorías más innovadoras de directores teatrales de renombre como Jerzy Grotowski o Peter Brook; el teatro posdramático (la performance, entre otros) y el nuevo rango otorgado a la palabra en la representación teatral. En la actualidad, Artaud es una referencia ineludible en el ámbito teatral: Artaud y El teatro y la peste; Artaud y El teatro de la crueldad; escritos teóricos recogidos en El teatro y su doble. Este artículo se propone abordar la recepción de Artaud en la escena teatral española. Nos interesa identificar qué representaciones de Artaud se han privilegiado – el hombre de teatro, el loco, el poeta, el enfermo… – y examinar la incidencia de dichos espectáculos en la divulgación de la obra de Antonin Artaud en España.

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17

Guini, Eleni. "TEATRO POSDRAMÁTICO EN TIEMPOS DE CRISIS: TRES EJEMPLOS DE TEATRO DOCUMENTO Y TEATRO DE CREACIÓN." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 46 (June 29, 2021): 71–101. http://dx.doi.org/10.32621/acotaciones.2021.46.03.

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En el período que nos ocupa —desde 2010 hasta la actuali-dad— caracterizado como una época de crisis que todavía no ha aca-bado, debemos reflexionar sobre cómo se involucra el teatro en la crisis y actúa en paralelo, al emitir juicios, plantear preguntas y mantener un diálogo con la sociedad. El presente ensayo analiza tres creaciones tea-trales que presentan su trabajo en la escena griega y europea y que han obtenido un notable éxito. La elección del dúo de directores Azás -Tsini-coris, el grupo Station Athens de Marcopulu y el grupo Blitz, respondió a dos consideraciones: por un lado, su temática, que expone puntos co-munes como la emigración, la xenofobia, la violencia y la melancolía pro-vocada por la resistencia a un mundo cruel, y, por otro lado, sus textos, que proceden de la ficción y el documental, y que son fruto de la labor común de todo el grupo. La intertextualidad, la alegoría y el realismo del formato como documento, componen representaciones vertebradas, road movies sin desplazamiento, relatos tragicómicos de la violencia de los siglos XX y XXI, versiones de canciones con guiños bien reconocibles a la coyuntura de crisis actual. Actores amateurs y profesionales, inmi-grantes, ciudadanos de la calle, directores que cuentan con la tecnología como coprotagonista, transforman experiencias e ideas en un fecundo género metateatral.

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18

Jin, Whuiyeon. "Present-ness and Representation of Post-Pandemic Performances: Artaud’s Theater of Cruelty and Rauschenberg’s Open Score." Journal of the Association of Western Art History 55 (August 31, 2021): 163–82. http://dx.doi.org/10.16901/jawah.2021.08.55.163.

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19

Choi, Sung Hee. "Cruelty and Desire in the Modern Theater: Antonin Artaud, Sarah Kane, and Samuel Beckett (review)." Modern Drama 55, no. 4 (2012): 569–71. http://dx.doi.org/10.1353/mdr.2012.0055.

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20

Mitchell, Rick. "Epic Cruelty: On Post-Pandemic Performance." New Theatre Quarterly 37, no. 2 (April 29, 2021): 119–36. http://dx.doi.org/10.1017/s0266464x21000026.

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As today’s catastrophic Covid-19 pandemic exacerbates ongoing crises, including systemic racism, rising ethno-nationalism, and fossil-fuelled climate change, the neoliberal world that we inhabit is becoming increasingly hostile, particularly for the most vulnerable. Even in the United States, as armed white-supremacist, pro-Trump forces face off against protesters seeking justice for African Americans, the hostility is increasingly palpable, and often frightening. Yet as millions of Black Lives Matter protesters demonstrated after the brutal police killing of George Floyd, the current, intersecting crises – worsened by Trump’s criminalization of anti-racism protesters and his dismissal of science – demand a serious, engaged, response from activists as well as artists. The title of this article is meant to evoke not only the state of the unusually cruel moment through which we are living, but also the very different approaches to performance of both Brecht and Artaud, whose ideas, along with those of others – including Benjamin, Butler, Latour, Mbembe, and Césaire – inform the radical, open-ended, post-pandemic theatre practice proposed in this essay. A critically acclaimed dramatist as well as Professor of English and Playwriting at California State University, Northridge, Mitchell’s published volumes of plays include Disaster Capitalism; or Money Can’t Buy You Love: Three Plays; Brecht in L.A.; and Ventriloquist: Two Plays and Ventriloquial Miscellany. He is the editor of Experimental O’Neill, and is currently at work on a series of post-pandemic plays.

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21

Sohn, Dong Ho. "Sean O’Casey’s Theatre of Cruelty - Cock-a-Doodle Dandy -." Comparative Study of World Literature 71 (June 30, 2020): 75–100. http://dx.doi.org/10.33078/cowol71.03.

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22

Oh, Sung-Soo. "A Study on Characteristics Related to the Theater of Cruelty That Appear in the Todd Phillips Film Joker." Journal of acting studies 21 (February 28, 2021): 93–108. http://dx.doi.org/10.26764/jaa.2021.21.6.

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23

Knittelfelder, Elisabeth. "The “Ordinary” Cruelty and the Theatre as Witness in Four South African Plays." Journal of Contemporary Drama in English 8, no. 1 (May 11, 2020): 160–76. http://dx.doi.org/10.1515/jcde-2020-0012.

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AbstractThis essay looks at how four contemporary South African plays use performance to render, address, and acknowledge personal and national trauma. By staging acts of cruelty that happen as “ordinary” experience, as perpetual pain, or as representation of life-in-crisis, these plays not only question and complement the national narrative by telling stories that have not found a stage or a listener before, but they also inform and speak to topical societal issues in South Africa such as that of apathy to violence and the question of complicity. Yael Farber and Lara Foot employ a distinctly South African theatre language that draws on theatrical concepts of the European avant-garde, especially those of Antonin Artaud, as well as on the tradition of oral storytelling and ritual to render cruelty as the “ordinary” and crisis as an ongoing condition in the sociohistorical context of apartheid and the apartheid-influenced post-1994 world. By excavating, tracing, and acknowledging “ordinary” cruelty as experienced personally and collectively, the plays explore revelations about the human condition, open up a discussion on the nature of memory or (collective) amnesia, on trauma, complicity, and the crucial role of the witness.

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24

Pavićević, Jovana. "Artoovo pozorište surovosti i njegovo nasleđe." Issues in Ethnology and Anthropology 11, no. 4 (January 2, 2017): 1153. http://dx.doi.org/10.21301/eap.v11i4.11.

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Antonin Artaud (1896–1948) is considered to be one of the most influential theatre practitioners in the 20th century although his theory has been deemed too abstruse. The aim of this paper is to offer a systematic account of Antonin Artaud’s concepts for his Theatre of Cruelty and the ways it influenced subsequent theatre practitioners, namely Peter Brook, Jerzy Grotowski and Eugenio Barba.

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25

Witt-Jauch, Martina. "Image versus imagination." Alphaville: Journal of Film and Screen Media, no. 4 (December 21, 2012): 83–96. http://dx.doi.org/10.33178/alpha.4.06.

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While the 1962 French science fiction film La Jetée presents a straightforward narrative premise, it nonetheless details the story of a man who “becomes a human projectile to be pro-jeté through time,” as Paul Sandro claims. Incriminating the audience in a theatre of cruelty, the film moves through the past and future via the mental time-travel of the protagonist in a series of stills, which appear independent from the consciousness of the agent. In the course of events, the protagonist builds a cognitive map out of this chaotic sequence of memories that allows him to then create new spaces of thought. The first mention of the “theatre of cruelty” by Antonin Artaud in 1935, considered pain and terror to be the most important elements of any kind of play or film. The protagonist's situation of constantly chasing his own ghost and restoring his memory corresponds to these conditions and thus opens up new venues of considering cruelty, and in extension trauma, as an important third element in Chris Marker's film. His film La Jetée created a filmic embodiment of this interplay in both the redemptive yet productive powers of memory and the cyclical notion of time as it manifests itself in the mind of the protagonist and viewer.

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26

Barker, Clive. "Tell Me When It Hurts: the ‘Theatre of Cruelty’ Season, Thirty Years On." New Theatre Quarterly 12, no. 46 (May 1996): 130–35. http://dx.doi.org/10.1017/s0266464x00009957.

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The piece which follows was written in 1964 after seeing the Theatre of Cruelty season, directed by Peter Brook and Charles Marowitz at the then recently opened LAMDA Theatre in West London, and has never been published in full before. It was my attempt to sum up discussions with colleagues and friends in the weeks after performances, and has served something of that purpose with students later. Following from this I was asked by Albert Hunt and Geoffrey Reeves if they could quote from it in their recent book on Peter Brook in the CUP ‘Directors’ series. Since then, another author has quoted from this source, and, in the event of further excerpting, it seems wise to publish the document in full so that any future quotation will be in recognition of the context in which the statement is made. There are other reasons. Looking back, 1964 can be seen as a crucial crossroads in the British theatre, and the interest in Artaud and Theatre of Cruelty one of the manifestations of a growing frustration with the British actor's inability or unwillingness to physicalize the action rather than intellectualize and verbalize it. It takes up the gauntlet thrown down by Littlewood in that year with Oh, What a Lovely War! and the formation of E15 Acting School by Margaret Bury, as with the Copeau-style training work initiated by John Blatchley at Central School, which led to his formation, with Christopher Fettes and Yat Malmgren, of Drama Centre. The founding of these two schools signalled a significant shift in the training methods and programmes for British actors. The Theatre of Cruelty season seems in retrospect to sum up Brook's frustration at being unable to realize his ideas in the British theatre. Subsequent writers, who in the main never saw the performances, have tended to mark down the season as a great success, instead of the dismal failure I thought it – whether in terms of finding solutions to the problems posed or of keeping any sort of faith with the ideas propounded by Artaud. So a mythology has grown up. Looking at what I wrote then from the position of today I stand by my critique, though I also see what I gained from the performances in the development of my own work, since they revealed clearly a number of blind alleys to be avoided and also enabled me to view the area of training actors to be the crucial issue to be addressed if the British theatre was to move forward. After this, Brook moved Paris and began to experiment further with the problems he was pursuing by importing actors, and consequently skills and styles, from other countries and traditions. Early in his time there, I was present in the Meubilier National, along with an audience of school-children, to witness work in progress on forms of narrative. The experience was as enlightening and enlivening as the Theatre of Cruelty had been stultifying. Though I assured him that I had nothing but praise, Brook asked me not to publish anything on what I had seen, and I did not want to offend him. I have often wished that I had set down my analysis of that experience to counterbalance what I had written on Theatre of Cruelty. I am happy to publish the following article to give an alternative view of this crucial moment in British theatre history, but I regret not being able to put the positive companion piece alongsid.

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27

Schrum, Stephen, and Elliot Sheedy. "Building a virtual reality model of Artaud’s theatre of cruelty." Metaverse Creativity 2, no. 2 (December 19, 2012): 205–21. http://dx.doi.org/10.1386/mvcr.2.2.205_1.

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28

Finter, Helga, and Matthew Griffin. "Antonin Artaud and the Impossible Theatre: The Legacy of the Theatre of Cruelty." TDR (1988-) 41, no. 4 (1997): 15. http://dx.doi.org/10.2307/1146659.

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29

Sponsler, Claire. "The Medieval Theater of Cruelty: Rhetoric, Memory, Violence. By Jody Enders. Ithaca: Cornell University Press, 1999; pp. 268. $45.00 hardcover." Theatre Survey 40, no. 2 (November 1999): 79–81. http://dx.doi.org/10.1017/s0040557400003574.

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30

Blake, Ann. "The Medieval Theatre of Cruelty: Rhetoric, Memory, Violence (review)." Parergon 18, no. 2 (2001): 160–62. http://dx.doi.org/10.1353/pgn.2001.0062.

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31

Romanska, Magda. "The theatre of cruelty and the limits of representation: Sade/Salò." Journal of Adaptation in Film & Performance 13, no. 3 (December 1, 2020): 259–84. http://dx.doi.org/10.1386/jafp_00031_1.

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When first released in 1975, Salò or the 120 Days of Sodom, directed by the already-notorious Italian director Pier Paolo Pasolini, aroused instant controversy. As a framework for its plot, Salò took the infamous 500-page novel by the Marquis de Sade, 120 Days of Sodom. In de Sade’s novel, four libertines, President de Curval, the Duc de Blangis, Durcet and the Bishop of X, sign a contract whose main clause is commitment to breaking as many taboos as they can possibly think of. With sixteen youths, eight girls and eight boys, servants, guards and four procurers and ex-prostitutes, the libertines isolate themselves in a remote chateau to re-enact their every fantasy. Filming Salò, Pasolini’s goal was to remain faithful to Sade’s novel. The characters, events and structure of the story remain the same. The more controversial aspect of the film, however, was Pasolini’s idea of relocating Sade’s novel into the actual historical context of the fascist Republic of Salò. For Pasolini, the gesture of moving Sade to Salò was to draw an actual analogy between the fascism and sadism. For some critics, the parallel between fascism and sadism was unfortunate exactly because it presented fascism, a real and palpable phenomenon, as an abstraction (the way that Sade’s world functions).

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32

Connick, Rob. "Cruelty and Desire in the Modern Theater: Antonin Artaud, Sarah Kane, and Samuel Beckett by Laurens De Vos (review)." Comparative Drama 47, no. 1 (2013): 129–32. http://dx.doi.org/10.1353/cdr.2013.0008.

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33

Anđelković, Bojan. "Theatre - power - subject: On Dragan Živadinov's Elizabethan Trilogy." Maska 28, no. 157 (October 1, 2013): 79–95. http://dx.doi.org/10.1386/maska.28.157-158.79_1.

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The text offers a philosophical reflection on the cycle of five performances that form the Elizabethan Trilogy project (2008-2013) by director Dragan Živadinov. By introducing four conceptual pairs - theatre and sovereignty, words and things, the subject and the mask, and difference and repetition - it also attempts to reflect on Živadinov's entire opus and on the meaning of his theatre. At the centre of attention in the theatre of repetition, which is opposed to the theatre of representation, there is the relation between theatre, sovereignty and the subject; the author of this text tries to shed light on this relation by drawing on Antonin Artaud's concept of the theatre of cruelty and possible connections between theatre and the philosophies of Friedrich Nietzsche, Michel Foucault and Gilles Deleuze.

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34

White, Joel. "Anarchic Reflection and the Crisis of Krisis: Working with Artaud." Performance Philosophy 4, no. 1 (August 30, 2018): 86–105. http://dx.doi.org/10.21476/pp.2018.41208.

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This article begins by arguing that the ‘madness’ of Antonin Artaud is either fetishised or resisted, depending on the disciplinary angle from which one works. It proposes an alternative approach to the study of Artaud, which might avoid such pitfalls by reading Artaud’s work as performative philosophy or a philosophy of performance. The approach is defined by the principle of ‘working with’, rather than working on, a literary or philosophical figure. The second part of the article works, or philosophises, with Artaud, reading his work on the ‘Theatre of Cruelty’ alongside Immanuel Kant’s work on judgment from the third Critique. It explores the Kantian distinction between determining and reflective judgment, extending reflective judgment into what I call anarchic reflection. To do so, the article elucidates the conceptual relation between actuality, entropy, an-archy, cruelty and sublimity, defining anarchic reflection as an unintentional and/or intentional crisis of the judgment or krisis (κρίσις) of Form that opens the possibility of its transformation.

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35

Ashraf, Tasleem Ara. "Marlowes Theatre of Cruelty: Threat, Caution and Reaction in Five Plays." Stamford Journal of English 7 (April 6, 2013): 16–26. http://dx.doi.org/10.3329/sje.v7i0.14460.

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36

Plunka, Gene A. "Artaud's Theatre of Cruelty on Route 666: Jean-Claude van Itallie's "Motel"." South Atlantic Review 61, no. 1 (1996): 89. http://dx.doi.org/10.2307/3200768.

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37

Ray, Manas. "Against Negation: Suicide, Self-Consciousness, and Jibanananda Das’s Poem, “One Day Eight Years Ago”." Cambridge Journal of Postcolonial Literary Inquiry 2, no. 2 (June 22, 2015): 151–70. http://dx.doi.org/10.1017/pli.2015.9.

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AbstractJibanananda Das (1899–1954) is widely revered as the preeminent poet of post-Tagore Bengali literature. His oeuvre is unremittingly autobiographical, narrating desultory journeys into a vulnerable yet stoic, companionless life. The poem that the paper analyses is one of his most well known. Two streaks of narrative run parallel in the poem: the protagonist’s act of suicide without any apparent reason and the ceaseless brutality of nature as a way of life. The poem has occasioned a large body of critical literature. As against the prevalent interpretation of the poem, which privileges self-consciousness and a dialectical scheme of interpretation, we set off a Foucauldian, archeo-genealogical reading. In our reading, the poem is a theater of many voices constituting a matrix of language, which, strictly speaking, is a nonlanguage—articulations that perfectly fold back against one another to implicate in a tautological bind the originary meaninglessness of living and of life’s constitutive cruelty. Here negation is uncontainable and illimitable, always spilling over, always open to possibilities of being otherwise, its trail running in negating—almost inevitably—negation itself and thus gesturing an aleatory renewal of a space for the political.

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Bondareva, O. "AN ANTI-WAR PLAY OF THE MIDDLE OF THE XX CENTURY: PRINCIPLES OF CONSTRUCTION AND APPEAL TO DELL’ARTE PRACTICES, SITUATION COMEDY, CINEMA, DIDACTIC THEATER, THEATER OF CRUELTY (BASED ON ROBERTO ARLTA’S “IRON HOLIDAY”)." International Humanitarian University Herald. Philology 3, no. 46 (2020): 29–32. http://dx.doi.org/10.32841/2409-1154.2020.46-3.7.

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Weiss, Allen S. "Mouths of Disquietude: Valere Novarina between the Theatre of Cruelty and Ecrits Bruts." TDR (1988-) 37, no. 2 (1993): 80. http://dx.doi.org/10.2307/1146250.

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Brooks, Victoria. "Interrupting the Courtroom Organism: Screaming Bodies, Material Affects and the Theatre of Cruelty." Law, Culture and the Humanities 15, no. 2 (July 21, 2014): 332–51. http://dx.doi.org/10.1177/1743872114543767.

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This article offers a method of reading the courtroom which produces an alternative mapping of the space. My method combines a reading of Antonin Artaud’s Theatre of Cruelty with a Deleuzian theoretical analysis. I suggest that this is a useful method since it allows examination of the spatial praxes of the courtroom which pulsate with a power to organize, terrorize and to judge. This method is also able to conceptualize the presence of ‘‘screaming’’ bodies and living matter which are appropriated to build, as well as feed the presence and functioning of the courtroom space, or organism. By using a method that articulates the cry of these bodies in the shadow of the organism, it becomes clear that this cry is both unwelcome and suppressed by the courtroom. The howl of anxious bodies enduring the process and space of the law can be materialized through interruptions to the courtroom, such as when bodies stand when they should not and when they speak when they should be silent. These vociferous actualizations of the scream serve only to feed the organism they seek to disturb, yet if the scream is listened to before it disrupts, the interruption becomes-imperceptible to the courtroom. Through my Artaudian/Deleuzian reading, I give a voice to the corporeal gasp that lingers before the cry, which is embedded within the embodied multiplicity from which it is possible to draw a creative line of flight. The creative momentum of this line of flight produces a sustainable interruption to the courtroom process, which instead of being consumed by the system, has the potential to produce new courtroom alignments. My text therefore offers an alternative reading of the courtroom, and in doing so also offers a refined understanding of how to productively ‘‘interrupt’’ the courtroom process.

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이영준. "On Dionysian 'Reality' and Cosmic Cruelty in F. Nietzsche’s The Birth of Tragedy, Antonin Artaud’s ‘Theatre of Cruelty’ and D. H. Lawrence’s Mexican(Aztec) Myth." Jungang Journal of English Language and Literature 50, no. 3 (September 2008): 262–83. http://dx.doi.org/10.18853/jjell.2008.50.3.014.

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Dickson, D. Bruce. "Public Transcripts Expressed in Theatres of Cruelty: the Royal Graves at Ur in Mesopotamia." Cambridge Archaeological Journal 16, no. 2 (June 2006): 123–44. http://dx.doi.org/10.1017/s0959774306000084.

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The interpretation of the Royal Graves at Ur, Mesopotamia, by their excavator, Sir Leonard Woolley, has long been accepted. Woolley implies that the people sacrificed along with the dynasts went willingly to their deaths out of loyalty, devotion, and faith in the dead monarchs; but other interpretations are plausible. One is that these graves are the remains of dramas portraying a ‘public transcript’ played out in a public theatre of cruelty staged by rulers claiming divine status. State power united with supernatural authority can create extraordinarily powerful ‘sacred or divine kingdoms’; but ‘sacred’ or ‘divine’ kings need continuous contact with the supernatural and affirmation of their divinity. They are obliged to practise acts of public mystification, of which the Royal Graves appear to be examples. Ur's kings may indeed have been strong and their subjects loyal, but it is equally likely that they were weak and vulnerable and that they practised ritual sacrifice to terrorize a restive citizenry and convince themselves and others of their right to rule. Other examples of public transcripts made manifest in state-sponsored theatres of cruelty confirm that the Royal Graves at Ur are not unique but represent a phenomenon of wider historical generality.

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Murphy, Jay. "Artaud's Scream." Deleuze Studies 10, no. 2 (May 2016): 140–61. http://dx.doi.org/10.3366/dls.2016.0219.

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In the later Artaud's perception of existence as perpetual cosmological combat, one of his principal weapons is the scream. His deployment of this scream matures in the 1946–8 radio recordings, especially in To Have Done with the Judgement of God, which he saw as a successful ‘mini-model’ of the Theatre of Cruelty. Though often viewed as an ultimate failure, Artaud's screams, allied within a range of other ecstatic practices, are far more successful than his typically psychoanalytic critics would concede. Inseparable from his projected ‘body without organs’, Artaud's scream attempts an unanswerable, unrepeatable gesture, moving beyond any engagement with an audience.

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Barroso, Paulo. "The theatre of cruelty aesthetics: does postmodern life have to be “beautiful” or morally good?" Comunicação e Sociedade 18 (December 30, 2010): 201–8. http://dx.doi.org/10.17231/comsoc.18(2010).999.

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Pretendo reflectir sobre as implicações da relação entre os indivíduos e a sociedade, a partir da pergunta: Será que a vida pós-moderna em sociedade tem que ser bela ou moralmente boa? Para o efeito, apoio a minha perspectiva na obra de Franz Kafka, Na Colónia Penal, para representar um teatro social da estética da crueldade nas sociedades contemporâneas da pós-modernidade. A dimensão social da ética é uma espécie de prática de crueldade, assim como uma espécie de estética representando receitas da sociedade, que se confronta com as tendências contemporâneas das sociedades pós-modernas e se caracteriza pelo individualismo, narcisismo, consumo e espectáculo dos média. O teatro da crueldade funciona na punição dos condenados, para o qual existe essencialmente um trabalho de estética ou ética social higienista. A máquina insensível da Lei tem autoridade social e incorpora as falhas ou os erros punidos. Esta máquina continua a trabalhar (de forma invisível) nas nossas sociedades, onde as exigências sociais são as da ordem do Direito?

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Beretta, Daniel Cortes, Juciene Silva Oliveira, and Daniela Costa Vilela. "A EXTENSÃO UNIVERSITÁRIA E A LUDICIDADE NA EDUCAÇÃO INFANTIL CONTRA CRUELDADE ANIMAL E VIOLÊNCIA INTERPESSOAL." REVISTA BRASILEIRA DE EXTENSÃO UNIVERSITÁRIA 7, no. 2 (November 21, 2016): 139–44. http://dx.doi.org/10.36661/2358-0399.2016v7i2.3114.

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Resumo: A crueldade contra animais coexiste habitualmente com uma vasta gama de outros problemas (violência interpessoal, comportamento anti-social, bullying, etc.) e pode ser identificada em crianças com idade inferior aos sete anos. A violência contra animais reflete diretamente na violência doméstica e interpessoale a crueldade contra seres indefesos e emocionalmente dependentes é parte de um ciclo insidioso de agressão. A formação de consciência crítica e individual se faz necessária nas etapas iniciais de vida do ser humano, portanto deve-se reconhecer e assumir que a criança é um ser social que constrói e cria cultura. O uso do lúdico através de jogos, teatros e brinquedos, é instrumento eficaz no desenvolvimento do pensamento e da autonomia infantil. Por isso, objetivou-se, através da ludicidade, que o público infantil aprendesse e transmitisse de forma adequada e segura, que os animais têm sentimentos; e que atos de crueldades contra eles não devem ser feitos ou repetidos. As atividades foram desenvolvidas de agosto de 2014 a novembro de 2015, nas cidades de Mineiros e Jataí, Goiás, Brasil. Foram realizadas ações pedagógicas aplicadas, como teatro, cantiga, cartilha educativa, brincadeiras interativas com massa de modelar e quebra-cabeça. Com a realização do projeto notou-se o interesse das crianças em aprender, transmitir a mensagem a seus familiares e, principalmente, colocar em prática o conhecimento adquirido por meio da dinâmica realizada. Como retorno, observou-se que a maneira lúdica e educativa foi eficiente em despertar o interesse das crianças contra a crueldade animal, quebrando neste caso o ciclo insidioso de violência. Palavras-chave: Extensão Universitária, bem estar animal, sensibilização, ensino fundamental. The university extension and ludicity in early childhood education against animal cruelty and interpersonal violence Abstract: Animal cruelty usually coexists with other problems (interpersonal violence, anti-social behavior, bullying, etc.) and it can be identified before the age of seven years. Criticism and individual conscience formation becomes necessary in the early stages of human life, and therefore, it must be recognized and assumed that the child is a social being who builds and creates culture. The use of the ludic activities such as games, theater and toys is an efficient instrument for the development of children's autonomy and cognitive skills. Thus, this project aimed at through ludicity promoting the awareness that animals have feelings and that acts of cruelty against them should not be made or repeated. The activities were carried out from August 2014 to November 2015 in the cities of Mineiros and Jataí, Goiás State, Brazil. Pedagogical actions such as theater, singing, educational spelling book, interactive play with modeling clay and puzzle were used as a resource for this initiative. After the project ended the children's interest in learning and transmitting the message to their families could be observed, and especially their desire to put into practice the knowledge acquired throughout the activities. In return, education through ludicity was observed and showed to be effective in fostering the interest of children against animal cruelty and breaking the insidious cycle of violence. Key-words: University Extension, Animal Welfare, Raising Awareness, Elementary School n. La extensión universitaria y lo lúdico en la educación infantil contra la crueldad animal y la violencia interpersonal Resumen: La crueldad animal suele coexistir con otros problemas (violencia interpersonal, comportamiento antisocial, acoso, etc.) y pueden ser identificados antes de la edad de siete años. La crítica y la formación de la conciencia individual se hace necesaria en las primeras etapas de la vida humana. Por lo tanto, debe-se reconocer y presuponer que el niño es un ser social que construye y crea cultura. El uso de las actividades lúdicas a través de juegos, teatro y juguetes es un instrumento eficaz para el desarrollo del pensamiento y la autonomía de los niños. Por lo tanto, el objetivo fue, a través de la ludicidad, que los niños aprenderán y transmitan correctamente y con seguridad que los animales tienen sentimientos y que los actos de crueldad contra ellos no deben hacerse o repetirse. Se realizaron las actividades de agosto 2014 a noviembre 2015 en las ciudades de Mineiros y Jataí, Estado de Goiás, Brasil. Acciones pedagógicas como el teatro, canción, libro de lectura educativa, juego interactivo con plastilina y el rompecabezas fueran utilizadas. Después de la finalización del proyecto se observó el interés de los niños en el aprendizaje y en transmitir el mensaje a sus familias, y sobre todo para poner en práctica los conocimientos adquiridos en las dinámicas realizadas. Además, se observó como resultado que la educación a través ludicidad fue eficaz en despertar el interés de los niños contra la crueldad animal, rompiendo en este caso el ciclo insidioso de la violencia. Palabras-clave: Extension Universitária, Bienestar de los Animales, Sensibilización, Escuela Primaria.

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CURTIN, ADRIAN. "Cruel Vibrations: Sounding Out Antonin Artaud's Production of Les Cenci." Theatre Research International 35, no. 3 (October 2010): 250–62. http://dx.doi.org/10.1017/s0307883310000568.

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This article examines the sonic elements of Antonin Artaud's 1935 production of Les Cenci, Artaud's infamous attempt to realize his proposed ‘theatre of cruelty’. The aim is to qualify the critical opinion that Artaud was a failed theatre practitioner by analysing the conceptual complexity and potential effectiveness of the sound design for this production. Artaud utilized new sonic technologies and an aesthetic arguably derived in part from Balinese gamelan music to affect audience members on a physiological level, prefiguring the vibrational force and ultrasonic ambitions of modern sonic warfare. This analysis engages a range of primary and secondary materials, including an extant recording of music and sound effects used for the production, and is situated with reference to an estimated acoustic ‘horizon of expectations’ of Artaud's audiences and to neuroscientific conceptions of how the brain processes auditory input.

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Ward, Nigel. "Twelve of the Fifty-One Shocks of Antonin Artaud." New Theatre Quarterly 15, no. 2 (May 1999): 123–30. http://dx.doi.org/10.1017/s0266464x00012811.

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In ‘Artaud at Rodez’, published in the sixth issue of the original Theatre Quarterly, Charles Marowitz pursued an investigation into the nature of the alleged madness of Antonin Artaud, for which he was confined during the Second World War – eventually being transferred to the asylum at Rodez where he was subjected to electric shock ‘therapy’. Marowitz's article, which later formed the basis for his play of the same title, explored the motivations and responses of those involved: here, Nigel Ward focuses rather on the nature and effects of the treatment itself, inflicted on Artaud no less than fifty-one times – a treatment which, however controversial, was ironically appropriate for the creator of a ‘Theatre of Cruelty’ which itself claimed to purge its audience of weaknesses and to heal through shock. Nigel Ward is a tutor on the MA in Performance Studies course at the Central School of Speech and Drama.

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Kolin, Philip C. "“Cruelty … and Sweaty Intimacy”: The Reception of the Spanish Premiere of A Streetcar Named Desire." Theatre Survey 35, no. 2 (November 1994): 45–56. http://dx.doi.org/10.1017/s0040557400002787.

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The circumstances surrounding the national premieres of Tennessee Williams's A Streetcar Named Desire reflect not only the play's vibrant theatre life but also the particular culture that responded to it, validating past or anticipating future critical interpretations. Within two years of the Broadway (and world) premiere of Streetcar in December 1947, the play had been staged in Austria, Belgium, Holland, France (adapted by Jean Cocteau), Italy (with sets by Franco Zeffirelli), England (directed by Sir Laurence Olivier), Switzerland (with a translation by poet Berthold Viertel), and Sweden (directed by Ingmar Bergman). In March of 1950, Streetcar premiered in U.S.-occupied Germany, at Pfozheim. The premiere of the play in some of the former Communist Bloc countries followed in the 1950s or early 1960s. Streetcar opened on the same day—December 21, 1957—at Torun and Wroclaw (Breslau in pre-War Germany), Poland, and in Warsaw the subsequent April of 1958. The Czechoslovakian premiere of Streetcar was in November 1960 in Moravia and its Hungarian debut occurred shortly after.

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Tóth G, Péter. ""The Bloody Theatre of Europe". The Culture of Pain, Cruelty and Martyrdom in Early Modern Hungary." Acta Ethnographica Hungarica 48, no. 3-4 (August 2003): 385–96. http://dx.doi.org/10.1556/aethn.48.2003.3-4.6.

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Marowitz, Charles. "Cue for Passion: on the Dynamics of Shakespearean Acting." New Theatre Quarterly 18, no. 1 (February 2002): 3–9. http://dx.doi.org/10.1017/s0266464x02000106.

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Critics and scholars continue to delve assiduously into the literary nuances of Shakespeare's plays, and increasingly the Theatre Studies community pursues the task of documenting performance. But the dynamics of Shakespearean acting continue to be fogged by ideologies and assumptions dating back to the debate between Alfred Harbage and Bertram Joseph in the early post-war period, and to even earlier disputes between inspirational and intellectual interpretations. Here, director and critic Charles Marowitz looks retrospectively at the problem by exploring the living constituents of the actor's art as it grapples with the canon, touching in the process on acting styles from the seventeenth century to the present, and on the divergence between American and British approaches. During his years in England, Charles Marowitz founded the Open Space Theatre and was a close collaborator with Peter Brook at the Royal Shakespeare Company, notably during the Theatre of Cruelty season. He has published two dozen books on a variety of theatrical subjects, the most recent being Stage Dust: a Critic's Cultural Scrapbook from the 1990s (Scarecrow Press) and Roar of the Canon: Kott and Marowitz on Shakespeare (Applause Books). He is currently Artistic Director of the Malibu Stage Company in California.

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