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Journal articles on the topic 'Theater of cruelty'
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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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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.
3
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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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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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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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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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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HUTAGALUNG, Inge. "SOCIALIZATION OF THE IMPACT OF VIOLENCE THROUGH MASS MEDIA ON AGGRESSIVE BEHAVIOR." ICCD 3, no. 1 (October 27, 2021): 584–87. http://dx.doi.org/10.33068/iccd.vol3.iss1.428.
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Society in the current era of reformation has actually been presented with the naked staging of what the French poststructuralist thinker Jean Baudrillard (1983) calls a 'theater of cruelty'. As theater, violence, cruelty and ruthlessness have become a kind of ritual that is staged into the public sphere. Violence has become a discourse in the public sphere. The social learning theory proposition states that humans imitate and identify by learning through observing the behavior of others around them, including through mass media. The purpose of community service activities (PkM) is to socialize the impact of violent broadcasts on aggressive behavior, given the role of the mass media as a double-edged knife, having both a function and a dysfunction. The function of the media to inform reality can ultimately have negative side effects. The method of implementation is done through Learning Methodology, a method that focuses on participant participation. The result of this PkM activity is an increase in public awareness of the impact of the mass media. Because if society is constantly being fed with the values of violence, over time there will be an assumption that violence is commonplace, and will make the community insensitive to violence. As a result, in a broad sense, there will be chaos in the social values and norms of society, where the good and true values are confused.
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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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Solomon, Diana. "Sancho Panza in Eighteenth-Century English Theater: Disrupting the Path of the English Knight-Errant." Eighteenth-Century Life 46, no. 3 (September 1, 2022): 123–43. http://dx.doi.org/10.1215/00982601-9955364.
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Widely translated and adapted in eighteenth-century England, Don Quixote inspired some of the period's greatest fiction. Yet while literary adaptations of Cervantes's novel often render its humor “amiable” and accommodate it to polite society, dramatic adaptations instead accentuate its low comedy and farce. This paper argues that dramatic entertainments should factor into discussions of the novel's extraordinary influence in eighteenth-century England. Thomas D'Urfey's popular trilogy, The Comical History of Don Quixote (1694–95), and several of its successors augment the base characteristics of Sancho and employ physical violence and cruelty to women and lower characters, showing that low comedy thrived in not only marginalized genres like jestbooks and comic illustrations, but also popular drama.
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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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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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Fernández Suárez, Laura. "«Performance, horror y cuento»: la dramaturgia de Angélica Liddell y María Folguera." Revista de Filología de la Universidad de La Laguna, no. 44 (2022): 177–92. http://dx.doi.org/10.25145/j.refiull.2022.44.11.
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Our article will analyze the work Y como no se pudrió... Blancanieves (Artezblai, 2007) by Angélica Liddell (Figueras, 1966) and the work Hilo debajo del agua (Ediciones La Complutense, 2010) by María Folguera (Madrid, 1984). These two works summarize some of the most important characteristics of the production of its authors. On the one hand, the Art of Performance, as a source of inspiration and/or as a tool for staging. On the other hand, the use of the narrative techniques of the tale in his dramaturgy and, finally, the denunciation of the human cruelty of our time. We will analyze the contrasts and similarities between the two works, how the traces of the performance are perceived, what concrete events animated these creations, how they make use of the genre of the tale and what kind of theater results from this wonderful miscellany.
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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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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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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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Mohammadi, Banafsheh. "Of Architecture and Hope." Journal of the Society of Architectural Historians 81, no. 3 (September 1, 2022): 357–71. http://dx.doi.org/10.1525/jsah.2022.81.3.357.
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Abstract Of Architecture and Hope: The Citadel Theatre of Edmonton and the Cruel Optimism of a Bygone Petroleum Age explores how one of the largest theaters built in North America in the twentieth century represents a form of petroleum-driven “cruel optimism,” a concept introduced by Lauren Berlant. Drawing upon a wide range of primary sources from the City of Edmonton Archives, the Provincial Archives of Alberta, the University of Alberta Archives, and the private archives of the family of theater cofounder Joe Shoctor, Banafsheh Mohammadi provides a detailed analysis of the design and materials of the Citadel Theatre as a means of examining how they exemplify a distinctive twentieth-century form of petroleum-based aesthetics.
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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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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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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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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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Honchar, Oleksii. "Richard Wagner’s Opera “Tannhäuser” in the Director’s Interpretation of Romeo Castellucci." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 131 (June 30, 2021): 137–53. http://dx.doi.org/10.31318/2522-4190.2021.131.243226.
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The relevance of the study lies in the systematization of the expressive means of the director’s interpretation of R. Castellucci, who, using the semantic elements of Dionysianism and Appolonism, Pantheism and Christianity — the main pair of oppositions for the European cultural space, has compared not only the forms of expression, but also the concepts of art, Tannhäuser’s inability to make a choice and be successful. He sees positive elements in each of them, but without accepting them as a whole, always remains on the verge, being rejected by the system, unwilling to completely immerse himself in it. R. Castellucci interprets Tannhäuser’s image as a victim of the conventions of these systems. The novelty of the research lies in the analysis of R. Castellucci’s producing, which is not substantially studied in Ukrainian musicology, although it opens a completely new interpretation of Tannhäuser. The figurative content of the main opposing forces here is fundamentally different from their previous incarnation on the opera stages of the world. The main objective of the study was to penetrate into the general interpretive vision of the work — its maximum symbolization, the use of figurative and semantic elements and their combinations in the work, which constitute the semantic field of the production, having a wide variance of perception and not directly following the plot, avoiding narrative and at the same time not deviating from the author’s text. The theme of love in its sensual and spiritual, as well as art and its forms of expression — the opposition of these criteria by R. Wagner is significantly complicated through the interpretation of them by R. Castellucci in postmodern discourse, where a set of pre-meanings gains direct meaning. So Venus and Venusburg, for R. Wagner, are a symbol of sensuality, and the director exaggerates the sensual to the meaning of “indecent”, where “hyper” becomes the primary characteristic, which is inherent in the elements of the production as a whole. The study was done by using semiotic principles of the director’s work and their semantic load determined the main methodological approaches of research in accordance with the works of J. Baudrillard, which were based on the algorithm for the structural analysis of an opera work developed by M. R. Cherkashina-Gubarenko. Elizabeth is the opposition to this discourse, and the Wartburg society is the personification of excessive rationalization, which makes it mechanized and devoid of humanity, impervious to other points of view, that is, totalitarian. In the end, Tannhäuser and Elizabeth are freed from the irreconcilable tension between discourses, the end of which becomes a deeply symbolic non-existence and stratification of space, time, performer and character. In any case, Tannhäuser does not really renounce his beliefs; the blossom of the bishop’s staff as a sign of divine grace refers not so much to Tannhäuser as to labeling his views as permissible in a variety of opinions, but alien to the clerical spirit and its institutions. As a result we can argue that the director departs from traditional interpretations of the plot and value judgments of a certain world, leaving unanswered the question of the normativity of one of them as opposed to the other, makes filling with symbolic images, while blurring clear lines and avoiding direct definition through illustrative direction. In general, everything hyper-, over-, “too” and “exaggerated” is characteristic of the director’s interpretations of R. Castellucci. His postmodern vision of the theater and some kinship with the “theater of cruelty” A. Artaud, allows, according to R. Castellucci, to experience these emotions outside of real life, to sublimate them through art — which was the focus of ancient tragedy. The study has significance from the point of view of an artistic and scientific description of the modern stage director’s theater, the principles of the artist’s work with material and its adaptation to modernity without violating the author’s intention. It can be used as a material in the studying of directors of musical theater and in introductory courses on modern trends in operatic art.
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Rudolph, Julia. "Rape and Resistance: Women and Consent in Seventeenth-Century English Legal and Political Thought." Journal of British Studies 39, no. 2 (April 2000): 157–84. http://dx.doi.org/10.1086/386215.
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During the Exclusion crisis, the figure of a tyrant rapist, a ruler undone by his own lust and cruelty, briefly appeared on the London stage. Early in December 1680, Nathaniel Lee's Lucius Junius Brutus was performed by the Duke's Company in the Dorset Garden Theater. Lee's play recounted the tale of the rape of Lucretia and the subsequent actions taken by Brutus in resistance to this act of tyranny. This theatrical production was by all accounts a success, yet the play was banned from the stage after only six days; the order of the Lord Chamberlain stated objections to its “very Scandalous Expressions & Reflections upon ye Government.” Lee's Brutus was, however, soon available in print, published by Richard and Jacob Tonson in June of 1681. Like other Exclusion publications, Brutus offered a powerful argument against tyranny and arbitrary government, and the play was evidently construed as an attack on the Stuart monarchy. Many modern commentators have specifically noted the anti-Catholic overtones of Lee's drama and have read it within the context of the Popish Plot scare. Yet the central theme of Lee's play is, of course, the association between tyranny and rape: it is the tyrant's violation of woman (not of religion) that justifies resistance. In Lee's drama, just as in Livy's history, the chaste and honorable Roman matron Lucretia is raped by “the lustful bloody Sextus,” a prince of the proud and tyrannical house of Tarquin. In both stories, Lucretia's rape and her subsequent suicide set off a train of revolutionary events: Brutus seizes the bloody knife from Lucretia's twice-violated body and, holding it to his lips, vows with his fellow Romans never to suffer Tarquin “nor any other king to reign in Rome.”
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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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Fatemeh Sadat Basirizadeh, Narges Raoufzadeh, and Shiva Zaheri Birgani. "The Study of Spurt of Blood in the lens of The Theatre of Cruelty." LingLit Journal Scientific Journal for Linguistics and Literature 3, no. 1 (March 30, 2022): 31–36. http://dx.doi.org/10.33258/linglit.v3i1.624.
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This paper explains Antonin Artaud's Spurt of Blood in the lens of The Theatre of Cruelty. Antonin Artaud is one of the most famous writers in the history of theatre. Antonin Artaud is considered to be the main contributor to the ideologies of Theatre of Cruelty in the early twentieth century as a reaction to the generic and ordinary ways in which theatre was created In Antonin Artaud's A Spurt of Blood examines subjects that may appear frightening to the general public such as blasphemy against God and the idea of innocence being reversed to lust, or love to depravity, or security to terror.
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MACPHERSON, HEIDI SLETTEDAHL. "Anthony KubiakAgitated States: Performance in the American Theater of Cruelty Ann Arbor: University of Michigan Press, 2002. 239 p. £39.00 (hbk), £18.00 (pbk). ISBN: 0-472-09811-x (hbk), 0-472-06811-3 (pbk)." New Theatre Quarterly 20, no. 2 (April 21, 2004): 197–98. http://dx.doi.org/10.1017/s0266464x04260092.
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Makliuk, D. M. "Specificity of embodiment of Shevchenko’s image in Lev Colodub’s opera “Poet”." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 40–57. http://dx.doi.org/10.34064/khnum2-18.03.
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Formulation of the problem, analysis of the publications on the topic. The opera by Lev Kolodub “Poet” is one of the recognized examples of modern “Shevchenkian music” and the outstanding achievement of the composer. From the very premiere at the Kharkiv Opera and Ballet Theater named after M. Lysenko (2001) to this day, this work has been preserved in the theater’s repertoire, and the 2011 Kharkiv performance has become a world event: in the recording of Ukrainian Radio, it was broadcast to 78 countries of the world by the European Broadcasting Union. L. Kolodub’s creativity attracts considerable attention of researchers and was covered in various sources, including monographic essays (Zahaikevych, M., 1973), scientific, encyclopedic, journalistic articles (Bielik Zolotariova, N., 2009; Sulim, R., 2010; Paukov, S., 2007), where the opera “Poet” is mentioned in different contexts. The reviews of premiere performances of this opera were given: in scenic version at Kharkiv (Velychko, Yu., 2002) and in philharmonic variant in Kyiv (Sikorska, I., 2004); in his interviews, the composer also recalled this work. Nevertheless, the holistic analysis of the concept of the opera and the image of its leading hero, as well as its vocal-stage interpretation by the Kharkiv Opera’s artistic collective, has not been carried out yet. The objective of this article is to formulate the concept of the stage embodiment of the Poet’s image in the opera of the same name by L. Kolodub, on the basis of its interpretation at the Kharkiv National Opera and Ballet Theatre and self-own scenic experience of the author of these words, which is currently the only performer of the protagonist’s part. Summary of the main material. The composer has many times emphasized the outstanding importance of Taras Shevchenko’s work for every Ukrainian. “I consider Shevchenko to be a personality who has arisen on the basis of Ukrainian folklore. She is understandable to everyone, everyone cares - this is a very social poet. Many perceive him naturally, since the problems of his works excite and affect people. Shevchenko is incredibly interesting! I constantly re-read him and every time I find a new one. The main thing is that he himself suffered, all this is transmitted in his poetry. At the same time, he is a very big optimist, a warm-hearted person” (from the interview, as cited by Koskin, V., 2008b). The composer noted that the scenic life of his opera was not easy: at first the work arose interest both in Dnipropetrovsk and Kyiv (Children’s Music Theater on Podol, National Opera Theater). In 1988, when the opera was created, S. Turchak, who was supposed to be the conductor, suddenly passed away, and the new management of National Opera deleted it from their plans. Nevertheless, the opera was staged at Kyiv in the philharmonic performance in the arrangement for soloists, choir and brass band (2004). In I. Sikorska’s (2004) opinion, the composer “broke the stereotypes”, having redrafted the score in such a way that the brass orchestra’s timbre palette rivals the symphonic one. The opera is written on the basis of drama “Path” by O. Biletskyi and Z. Sagalov. The librettists’ idea was that the events of poet’s life intervene with the plot collisions of his works. For example, execution of Jun Hus symbolically coincides with the moment of death of Shevchenko himself. Moreover, the poet’s image is identified with heroes of his works. So, Colodub’s opera is the authors’ interpretation of Shevchenko-Kobzar’s fate from the XX century human’s point of view. Therefore, both, phantasmagoria and cinematographic methods are justified. The composer thought that “modern opera requires novel forms of delivering the material. The art of cinema and drama theater are developing fast, and opera esthetics is sort of frozen in the 19th century, she is not seeing even the heels of the far-ahead walking dramaturgy of the modern theater” (from the interview, Koskin, V., 2008a). The principle of introspection became the main dramaturgical principle of opera libretto’s construction. Avoiding the symphonic introduction, the first scene instantly transfers the viewer to the last March night of the Poet’s life. Being on the edge of eternity, the heavily ill Shevchenko is diving in memories. The Poet in the opera acts simultaneously as the event’s participant and its commenter, revealing gradually through different scenic roles: as a naïve creative person (scene 10), as a poet-citizen, who points out social injustices (scenes 3, 4, 15, 16), as a loving and beloved person (scenes 6, 7, 14, 20), or a thinker (scenes 11, 13, 1, 22). Over time, these roles are summing up, turning Shevchenko’s image into polyphonic and lifting the latter to the epic generalization. The image of the Poet become the symbol of the nation’s self-consciousness lost in the conditions of imperial Russia’s brutal reality (scene 29, “The burning of Jan Hus” – the Czech thinker is the hero of the Shevchenko’s poem of the same name). The opera’s authors do not separate the title hero from the storm of events and kaleidoscope of others scenic personages, which stipulates the specificity of vocal dramaturgy of Shevchenko’s opera character. The Poet’s vocal party does not include the developed solo or duet episodes, but it consists of concise replicas-phrases written by the recitative (Dargomyzhsky-Mussorgsky’s tradition) and several solo statements of arioso type. Conclusions. So, “Poet” by L. Kolodub, continuing the line of psychological opera-drama, vividly presented in the twentieth century by the works of D. Shostakovich, A. Berg, B. Britten and their followers, at the same time appeals to symbolism as to one of the main means of artistic expression. The image of Taras Shevchenko is interpreted as polysemantic: the fate of the Poet coincides in the perception of the audience with the fate of the Ukrainian people in their desire for liberty in a situation of opposition to the autocratic regime. And the freedom of expression of poetic and civic thought appears as a conscious necessity in the struggle for personal freedom, honor and human dignity. The logical culmination of the development of the image is the final scene of the auto-da-fé, where the burning of Jan Hus, the hero of Shevchenko’s poem, acts as a symbol of cruelty to the Poet himself, and to the people, of whose part he is. The musical language of the Poet’s vocal party, on the one hand, is quite naturally approaches to the style of Ukrainian kobzars folk lyrics; on the other hand, it inherits the recitative type of melodicism, which is a characteristic feature of psychological musical theater. Such a synthesis helps to reveal the image of the Poet as the outstanding representative and spiritual leader of the Ukrainian people, and, at the same time, to emphasize the rich content of his work, and the beauty of the inspirited poetic Word. Theopera provides rich artistic material for the study of innovative type of dramatic thinking in the context of the development of the national tradition of the genre and is promising for further study.
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Szmidt, Olga. "Martwa ręka Wielkiego Kryzysu. O maratonach tanecznych oraz spektaklach śmierci i przetrwania." Dyskretny urok władzy. Idealiści, kolaboranci, oportuniści 19, no. 2 (October 28, 2022): 222–43. http://dx.doi.org/10.4467/23531991kk.22.018.16252.
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Tematem artykułu są złożone mechanizmy obserwowania i współudziału w szczególnych spektaklach rozrywki i okrucieństwa, jakimi były maratony taneczne okresu Wielkiego Kryzysu w Stanach Zjednoczonych. Analizie zostały poddane narracje literackie (zwłaszcza Czyż nie dobija się koni? Horace’a McCoya), poza refleksją literaturoznawczą jako istotny kontekst posłużyły zarówno prace z zakresu historii teatru i rozrywki, jak i historii ekonomii. Pogłębione przedstawienie okoliczności kryzysu gospodarczego pozwoliło na ukazanie dynamiki przemian konwencji literackich (m.in. opowieści o karierze w Hollywood) zarówno w ramach historycznoliterackiego procesu, jak i upadku amerykańskiej narracji o wyzwoleniu przez karierę filmową. Artykuł proponuje rozważenie kulturowych reprezentacji maratonu tanecznego jako sadystycznego spektaklu, w którym cierpienie innych staje się krótkoterminową rozrywką, umożliwianą przez wyraźny podział na uczestników i widzów, a także wizję konkursu jako trampoliny do sukcesu w przemyśle rozrywkowym. Prześledzenie rozpadu tej narracji oraz śmiercionośności tej obietnicy jest ważnym punktem dojścia eseju. The Dead Hand of the Great Depression. On Dance Marathons and Spectacles of Death and Survival The article’s main subject is the complex mechanism of observation and participation in the spectacles of sadism and cruelty prevalent during the Great Depression in the United States. A particular focus was given to They Shoot Horses, Don’t They? by Horace McCoy among other literary and art cases. Literary narratives focused on dance marathons are analyzed, apart from a literary-critical perspective, in the light of the history of theater and entertainment, and the history of economics. An in-depth presentation of the circumstances of the economic crisis allows us to see the dynamics of changes in literary conventions (including Hollywood narratives) as part of the historical-literary process, as well as the collapse of the American narrative about success and liberation through a career in the entertainment industry. The article proposes to consider cultural representations of the dance marathon as a sadistic spectacle in which the suffering of others becomes a short-term entertainment – enabled by a clear division between participants and spectators, and the common understanding of the competition as a springboard to success in Hollywood. Tracing the collapse of this narrative (as well as the lethal
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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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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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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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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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Krasner, David. "Agitated States: Performance in the American Theater of Cruelty. By Anthony Kubiak. Ann Arbor: University of Michigan Press, 2002; pp. xii + 239. $55 cloth; Sweet Violence: The Idea of the Tragic. By Terry Eagleton. London: Blackwell, 2003; xvii + 328. $24.95 paper." Theatre Survey 44, no. 02 (November 2003): 273–76. http://dx.doi.org/10.1017/s0040557403220147.
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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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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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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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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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Watt, Stephen. "Pinterian Violence and the Problem of Affirmation." Harold Pinter Review 5, no. 1 (May 1, 2021): 38–58. http://dx.doi.org/10.5325/haropintrevi.5.2021.0038.
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ABSTRACT This article positions Harold Pinter's later plays within the context of both rationalizations of violent means to achieve justifiable ends and a tradition of violent staging at the Royal Court Theatre. The former context includes explanations of violence in dramatic Tragedy, in Antonin Artaud's Theatre of Cruelty, and Edward Bond's political theatre; the latter, scenes of violence in the post–“In-Yer-Face” plays of Simon Stephens, David Ireland, and Jez Butterworth. The argument finally arrives at Pinter's increasingly negative worldview that while no discourse can justify the use of violent means to achieve desired ends, violence is both omnipresent and inevitable in human events.
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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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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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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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Jancovich, Mark. "‘Peter Brook’s Night of the Living Dead’: Horror, cinema and the post-war theatre." Journal of Adaptation in Film & Performance 15, no. 1 (March 1, 2022): 77–93. http://dx.doi.org/10.1386/jafp_00070_1.
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An examination of the relationship between theatre and film that focuses on the work of figures associated with the post-war British theatre but whose film work was often understood in terms of horror. In particular, it examines the ways in which their work was understood as shocking audiences through a confrontation with repressed materials and as narratively staging conflicts between protagonists that represent conflicting ideas. In other words, these stories were often understood as staging battles between characters that sought to assert domination and control over their adversaries, battles that often featured psychological cruelty and destructiveness.