Relevant bibliographies by topics / Theater of cruelty

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Theater of cruelty'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 February 2023

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Journal articles on the topic "Theater of cruelty"

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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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Oblova, Liudmyla, Svitlana Khrypko, Maryna Turchyn, Yuriy Pavlov, and Tatiana Bezprozvanna. "Metaphysics of Corporeality in the Post-modern Thinking. A. Artaud’s Theater: Self-less Actions, Mercantile Identity Accents." Postmodern Openings 13, no. 4 (November 29, 2022): 84–100. http://dx.doi.org/10.18662/po/13.4/507.

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The article is devoted to the experience of postmodern representation of the metaphysics of corporeality. The meaning of A. Artaud’s “Theatre of Cruelty” is shown as a living act of ontologization of the body through the pain phenomenon. The game of mercantile and thinking participant in the action is distinguished. The purpose of scientific research: to distinguish between psychological and metaphysical experiences as those that determine the bodily and carnal goals of the participants; accordingly, to show the actions of selfish and selfless roles with their ability to pass or block pain. Objectives of the research: to investigate the mechanisms of postmodern understanding of the metaphysics of the body through A. Artaud’s experience; to present the sphere of the Theater of Cruelty as the destiny of mankind to be a participant in the horrible and to be able to sympathize with it; to highlight the game of mercantile and selfless participant in ambiguous actions; to emphasize pain as a criterion of ontologizing the body; to show the places of the Theater of Cruelty in action on living examples. The scientific novelty lies in the view of the metaphysics of corporeality through the Theater of Cruelty and existential pain. Being a man of postmodern thinking, A. Artaud considers metaphysics in action and shows corporeality by a joint action, which is an event.
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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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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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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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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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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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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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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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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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Dissertations / Theses on the topic "Theater of cruelty"

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Connick, Rob. "Rethinking Artaud's Theoretical and Practical Works." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300457063.

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LaPorte, Julee R. Fisher Dominique D. "Unforgettable cruelties influence of Antonin Artaud's theater of cruelty on Abla Farhoud's Jeux de Patience and Wajdi Mouawad's Incendies /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2373.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Romance Languages French." Discipline: Romance Languages; Department/School: Romance Languages.
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Barbara, Rodrigo Peixoto. "(Des)dobrando o teatro da crueldade: Nietzsche, Artaud, Deleuze e outros pensadores rebeldes." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7354.

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The Theater of Cruelty is an Artaudian artistic manifestation that shook the representative Western aesthetic bases by returning the ritual, magic and life suppressed by Western theater to the performing arts, also highlighting controversial subjects / themes silenced by a ruling class, similarly as Friedrich Nietzsche and Gilles Deleuze did with their philosophical thoughts. In view of this, it is proposed with this Master's Dissertation, to (un)fold this Theater of Cruelty having as a theoretical subsidy, besides the studies of Antonin Artaud, the investigations of Nietzsche, Deleuze and some other rebellious thinkers. Through this unfolding, one studies the possible cruel plot given by the Philosophy-Art-Life conjunction and of that, the link between Tragedy, Dionysus and the Artaudian Theater. In view of this panorama, one wonders: what unites these cruel-artist thinkers? What do Nietzsche's Tragedy and the god Dionysus lend to the Theater of Cruelty of Artaud? To this end, the theoretical clause presented here rests on the attempt to account for a study that shows the rhizomatic agreement between these three thinkers and subversive thoughts having as central axis the Theater of Cruelty. Therefore, this theater is staged to propose a connection between Artaudian Cruelty and the revolutionary powers of the Nietzschean and Dionysian tragic.
O Teatro da Crueldade é uma manifestação artística artaudiana que estremeceu as bases estéticas representativas ocidentais devolvendo às artes cênicas o ritual, a magia e a vida suprimida pelo teatro ocidental, evidenciando, também, assuntos/temas polêmicos silenciados por uma classe dominante, similarmente como fizeram Friedrich Nietzsche e Gilles Deleuze com seus pensamentos filosóficos. Diante disso, propõe-se com essa Dissertação de Mestrado, (des)dobrar esse Teatro da Crueldade tendo como subsídio teórico, além dos estudos de Antonin Artaud, as investigações de Nietzsche, Deleuze e alguns outros pensadores rebeldes. Por intermédio desse desdobramento, estuda-se a possível trama cruel dada pela conjunção Filosofia-Arte-Vida e, a partir dessa, o enlace entre Tragédia, Dioniso e o Teatro artaudiano. A partir desse panorama apresentado, pergunta-se: o que une esses pensadores artistas-cruéis? O que a Tragédia de Nietzsche e o deus Dioniso emprestam ao Teatro da Crueldade de Artaud? Para tanto, o recorte teórico que aqui se apresenta repousa na tentativa de dar conta de um estudo que mostre o acordo rizomático entre esses três pensadores e pensamentos subversivos tendo como eixo central o Teatro da Crueldade. Logo, esse teatro se faz palco para propor uma ligação entre a Crueldade artaudiana e as potências revolucionárias do trágico nietzschiano e do dionisíaco.
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Cabral, Judson Forlan Gonzaga. "Antonin Artaud: a vida e sua dimensão política." Pontifícia Universidade Católica de São Paulo, 2015. http://tede2.pucsp.br/handle/handle/2537.

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Antonin Artaud was a french artist that lived on 20th century. With his theater and lifestyle, he shattered several moral institutions and rules that guided life. Made his life and art a combat. For this same reason, was subject of several reprimands. Artaud, man of theater stage, worked as a film actor, playwright, costume designer, scenographist, illustrator, art critic, an active man among his peers. Begun threading the path of historical avant-garde, and his ideals, especially those connected to surrealism, were aimed at revive theatrical art so it could be used as the place of action on life. Theater as practice of itself. Artaud s works were crucial so he could draw a life that was beyond or earlier of a certain life perspective consonant with its standardizing mechanisms. Beyond Artaud and his theater, this research focus on Nietzsche and Foucault, addressing some concepts dear to those authors. The life of those three were lives that to a certain extent drawn over existence other ways to be part of it. They established an aesthetic of existence from designing their lives as art pieces. Therefore, the research focuses on life and its political dimension seen through quality of life and its experiments. In this sense, draws the authors thoughts for different kinds of political actions
Antonin Artaud foi um artista francês que viveu no século XX. Ele com seu teatro e estilo de vida abalou os diversos programas morais e instituições pelas quais a vida era balizada. Fez de sua vida e arte um combate. Por isso mesmo sofreu diversos tipos de correções. Artaud, homem de teatro, trabalhou como ator de cinema, foi dramaturgo, figurinista, cenógrafo, desenhista, crítico de arte, foi um ativo entre seus contemporâneos. Trilhando inicialmente a esteira das vanguardas históricas e de seus ideais, especialmente o dos surrealistas tinhacomo projeto revivificar a arte teatral para que a mesma fosse usada como o lugar de ação sobre a vida. O teatro como prática de si. A obra de Artaud foi fundamental para que ele pudesse traçar uma vida que se colocava além ou aquém de certa perspectiva de vida vigente com seus mecanismos normalizadores. Além de Artaud e seu teatro a pesquisa enfatiza Nietzsche e Foucault com alguns conceitos caros a esses autores. A vida dos três foram vidas que de certa forma traçaram sobre a existência maneiras outras de estar nela. Instituíram uma estética da existência àmedida que fizeram das suas vidas uma obra de arte. Portanto, a pesquisa enfatiza a vida e sua dimensão política entendida aqui na qualidade de uma vida no e pelos seus experimentos. Para tanto, busca pensar à luz dos autores outros tipos possíveis de politização
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Combes, Emilie. "Le théâtre panique de Fernando Arrabal, « Science de l’essence de la confusion »." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040059.

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Notre approche du théâtre panique d’Arrabal a été dirigée par la perception d’une esthétique paradoxale, d’une dimension éthique et cathartique au cœur d’une théâtralité qui restitue sur scène la confusion de la vie et l’humain dans sa totalité. Cette thèse s’interroge sur les moyens par lesquels Arrabal a créé l’univers panique ainsi que sur les piliers d’une esthétique a priori fondée sur la dérision et l’altération de la réalité, dans une perpétuelle oscillation entre l’outrancier et le fascinant. Il s’agit de comprendre le fonctionnement du dispositif de la cruauté, à la fois dramaturgique et dramatique, et comment se révèle cette tension dialectique entre abject et sublime, à travers une pensée qui se prétend insaisissable. Notre travail cherche donc à situer tout d’abord la naissance de la pensée panique, à questionner la dimension contestataire et subversive de l’œuvre d’Arrabal, et à en envisager les variations et les permanences. La forme brute et primitive de ce théâtre en fait un spectacle qui nous touche et provoque un choc émotionnel qui stimule la pensée. A travers l’exploration de la cruauté enfantine, de la manifestation du cauchemar, du bouleversement des valeurs, de la violence et du blasphème, nous verrons que l’espoir et la quête de soi éloignent ce théâtre du tragique pur et du nihilisme. La merveille de l’enfance, les songes, l’humour, l’érotisme apparaissent alors comme autant de moyens d’une révolte poétique qui permet de tenir tête à une réalité oppressante et d’affronter la condition humaine sans tomber dans le désespoir. Cette polarisation entre le haut et le bas, entre l’espoir et la chute, dans une ritualisation de l’espace scénique, fait du théâtre d’Arrabal un théâtre libertaire et fondamentalement humain, qui devient un moyen d’accéder à la connaissance de soi
Our approach of Arrabal’s panic theater was led by the perception of a paradoxical aesthetic, an ethic and cathartic dimension at the heart of a theatricality bringing to the stage the confusion of life and human condition. This Ph.D thesis questions the means by which Arrabal created the panic paradigm and the foundations of an aesthetic first of all based on mockery and distortion of reality, perpetually oscillating between outrage and fascination. Our aim is to understand how cruelty is expressed, both dramatically and theatrically, and how the dialectical tension between abject and sublime is revealed through a vision often considered evasive. We first seek to understand when the panic concept was born, to question the subversive and protesting side of Arrabal’s work and to point out what changes and what remains the same through his productions. The crude and primitive nature of this theater makes it a performance that brings out an emotional shock and stimulates the audience’s mind. By exploring the themes of children’s cruelty, nightmare, abrupt change of values, violence and blasphemy, we will see that hope and the ontological quest keep this theater from pure tragic and nihilism. Childhood, dreams, humor, and eroticism appear as forces which feed a poetic revolt, to stand up against an oppressive reality and fight against human condition without falling into despair. This polarization between the high and the low, the hope and the fall, by a ritualization of the scenic area, makes Arrabal’s theater libertarian, fundamentally human, and therefore a means to know oneself
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Portzamparc, Arianne de. "Rihm et Artaud : Tutuguri, Die Eroberung von Mexico et Séraphin - un théâtre musical de la cruauté." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080131/document.

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Le théâtre de la cruauté d’Antonin Artaud (1896-1948) participe à une libération des langages artistiques au profit du sens déterminante dans l’histoire de l’art du XXème siècle. Dans ce théâtre, l’acteur représente le point de départ d’un langage originaire fondé sur le souffle et le geste qui favorise une communication affective avec le spectateur. Le théâtre musical de la cruauté de Wolfgang Rihm (1952) s’inspire de ce langage à travers les thématiques du rite, du mythe et du rêve, porteuses d’un théâtre inhérent à la vie. Ces thématiques sont propices au développement d’une vocalité qui rend perceptible la corporalité du chanteur grâce à une déconstruction de la matière langagière. Rihm exploite la matière phonique de la langue sous forme de glossolalies, cherche différents aspects du cri en tant qu’élément premier du langage, utilise le souffle comme une matière sonore. Cette vocalité rejoint son approche instrumentale qui travaille le son à partir du timbre, du rythme et de l’intensité sans chercher à l’enfermer dans une logique systémique. Intégrée au processus compositionnel, la disposition des musiciens et des chanteurs dans l’espace rejoint également la conception d’un espace scénique vivant dans le théâtre d’Artaud. Au fur et à mesure de son théâtre musical de la cruauté, Rihm laisse ses matériaux sonores inspirés par Artaud se réécrire dans une forme de palimpseste
The theater of cruelty of Antonin Artaud (1896-1948) participates in a liberation of artistic language over decisive meaning in the history of 20th century art. In this theater the actor is the starting point for a language of origins founded on breath and gesture, which promotes affective communication with the audience. The musical theater of Wolfgang Rihm (1952) takes it’s inspiration from this language via the themes of ritual, myth, and dream, all which bear a theater inherent to life. These themes are developed through a vocalization, which renders visible the corporeality of the singer through a deconstruction of language matter. Rihm exploits the phonic matter of language in the form of glossolalia, seeking different aspects of the scream as the primal element of language, employing breath as sonorous matter. This vocalization rejoins his instrumental approach, which uses sound drawn from timbre, rhythm and intensity without seeking to enclose it within a logical system. Integrated into the compositional process, the spacial arrangement of the musicians and the singers rejoins the concept of a living scenic space in Artaud’s theater. As Rihm’ s musical theater of cruelty progresses, it allows the sonoral matter inspired by Artaud to rewrite itself in a form of palimpsest
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Di, Ponio Amanda. "The Elizabethan Theatre of Cruelty and its double /." St Andrews, 2009. http://hdl.handle.net/10023/836.

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Di, Ponio Amanda Nina. "The Elizabethan Theatre of cruelty and its double." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/836.

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This thesis is an examination of the theoretical concepts of Antonin Artaud (1896-1948) and their relation to the Elizabethan theatre. I propose that the dramas of the age of Shakespeare and the environment in which they were produced should be seen as an integral part of the Theatre of Cruelty and essential to its very understanding. The development of the English Renaissance public theatre was at the mercy of periods of outbreaks and abatements of plague, a powerful force that Artaud considers to be the double of the theatre. The claim for regeneration as an outcome of the plague, a phenomenon causing intense destruction, is very specific to Artaud. The cruel and violent images associated with the plague also feature in the theatre, as do its destructive and regenerative powers. The plague and its surrounding atmosphere contain both the grotesque and sublime elements of life Artaud wished to capture in his theatre. His theory of cruelty is part of a larger investigation into the connection between spectacle, violence, and sacrifice explored by Mikhail Bakhtin, René Girard, and Georges Bataille.
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Groenveld, Leanne Michelle. "The medieval theatre of cruelty, Antonin Artaud and Corpus Christi drama." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq22988.pdf.

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Dluback, Rebecca L. "Sarah Kane's Cruelty: Subversive Performance and Gender." Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1232751060.

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Thesis (M.A.)--Cleveland State University, 2008.
Abstract. Title from PDF t.p. (viewed on Apr. 14, 2009). Includes bibliographical references (p. 35). Available online via the OhioLINK ETD Center. Also available in print.
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Books on the topic "Theater of cruelty"

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Artaud's theatre of cruelty. London: Methuen, 2001.

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Artaud's theatre of cruelty. London: Methuen, 2001.

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The medieval theater of cruelty: Rhetoric, memory, violence. Ithaca: Cornell University Press, 1999.

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Fare Artaud: Il teatro della crudeltà in Italia (1935-1970). Spoleto (Pg): Editoria & spettacolo, 2019.

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Cruelty and desire in the modern theater: Antonin Artaud, Sarah Kane, and Samuel Beckett. Madison, NJ: Fairleigh Dickinson University Press, 2010.

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The actor and his double: Mime and movement for the theatre of cruelty. Chicago: Actor Training & Research Inst. Press, 1986.

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Di Ponio, Amanda. The Early Modern Theatre of Cruelty and its Doubles. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92249-2.

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Artaud and his doubles. Ann Arbor: The University of Michigan Press, 2010.

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Buruma, Ian. Theater of Cruelty. New York Review of Books, Incorporated, The, 2014.

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Summers, Celina. Theater of Cruelty. Independently Published, 2018.

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Book chapters on the topic "Theater of cruelty"

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Statkiewicz, Max. "The Idea of Chaos and the Theater of Cruelty." In Life the Play of Life on the Stage of the World in Fine Arts, Stage-Play, and Literature, 261–75. Dordrecht: Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-010-0826-6_18.

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Varty, Anne. "Theatre and Cruelty." In Children and Theatre in Victorian Britain, 220–33. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230286061_9.

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Bao, Hongwei. "Theatre of cruelty." In Contemporary Chinese Queer Performance, 83–100. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003048541-9.

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Di Ponio, Amanda. "Interpreting Antonin Artaud’s Theatre of Cruelty." In The Early Modern Theatre of Cruelty and its Doubles, 13–43. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92249-2_2.

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Remshardt, Ralf. "The Cruelty Tourist and the Emancipated Spectator." In Why the Theatre, 149–57. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003017615-25.

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Knapp, Bettina L. "Antonin Artaud and the Theatre of Cruelty." In Twentieth-Century European Drama, 78–91. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23073-0_6.

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Di Ponio, Amanda. "Bear-Baiting and the Theatre of Cruelty." In The Early Modern Theatre of Cruelty and its Doubles, 87–117. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92249-2_4.

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Chaudhuri, Una, and Shonni Enelow. "Theorizing Ecocide: The Theatre of Eco-Cruelty." In Research Theatre, Climate Change, and the Ecocide Project, 22–40. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137396624_2.

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Di Ponio, Amanda. "Thyestean Savagery: Seneca, the Renaissance, and the Theatre of Cruelty." In The Early Modern Theatre of Cruelty and its Doubles, 121–53. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92249-2_5.

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Di Ponio, Amanda. "After Artaud: Peter Brook and The Theatre of Cruelty Season." In The Early Modern Theatre of Cruelty and its Doubles, 213–32. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92249-2_8.

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You might also be interested in the extended bibliographies on the topic 'Theater of cruelty' for particular source types:
Journal articles Dissertations / Theses Books
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